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| Illustration Credits | |
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| Acknowledgments | |
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| Preface | |
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| Introduction | |
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| Design Drawing's Relationship to Art and Drafting | |
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| Teaching and Learning Drawing | |
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| The Value of Learning to Draw | |
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| Perception | |
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| The Dominance of Vision | |
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| Perception of the Environment | |
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| Environmental Interest | |
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| Intention and Meaning | |
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| Perceptual Experience | |
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| Opportunity Seeking | |
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| Perception of Design Drawings | |
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| Conception | |
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| Self-Conception | |
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| A Modest Mindmodel Proposal | |
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| Evolution's Layered Legacy | |
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| Categories and Hierarchies | |
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| Conceptual Function | |
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| Models of Conception | |
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| Conceptual Modes | |
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| Experience's Opportunities | |
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| Conceptual Drawing | |
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| The Double Synthesis | |
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| Externalization | |
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| The Eyemindhand Wheel | |
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| Representation | |
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| Drawing's Relationship to Experience | |
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| Drawing Techniques | |
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| Line | |
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| Line--Spatially Profiled | |
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| Tone | |
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| Tone-of-Lines | |
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| Line-and-Tone | |
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| Line-and-Tone on Middletone | |
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| Interest Categories | |
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| Drawing as an Investment Hierarchy | |
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| Choosing the Right Technique | |
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| Perspective | |
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| Principles, Methods and Frameworks | |
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| The Principles of Perspective | |
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| Perspective Methods | |
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| Perspective Frameworks | |
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| Direct Perspective Layout | |
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| Principles | |
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| Frameworks | |
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| Methods | |
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| Diagonals | |
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| Width Plane | |
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| Depth Plane | |
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| Laying Out an Exterior Perspective | |
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| Laying Out an Interior Perspective | |
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| Changing Eyelevel and Size | |
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| Variations | |
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| Tonal Interest and Light | |
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| Tonal Interest: Shadow-Casting in Direct Perspectives | |
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| Shadow-Analysis Cube | |
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| Shadow-Casting on Exterior Perspectives | |
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| Shadow-Casting on Interior Perspectives | |
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| Night Perspectives | |
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| Building a Graphic Vocabulary | |
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| Textural Interest | |
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| Additional Interest | |
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| Drawing's Relationship to the Design Process | |
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| Personal Model of the Process | |
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| Zippers and Stitches | |
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| The Composite Model | |
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| The Assumed Role of Drawing | |
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| The Communicative Purpose | |
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| Kind of Problem or Solution | |
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| Choice of Drawing | |
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| Degree of Resolution | |
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| Opening Drawings | |
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| Clearing Drawings | |
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| Stitch Drawings | |
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| Hitch Drawings | |
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| Zipper Drawings | |
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| Zipped Drawings | |
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| Illustrating the Design Process | |
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| Combinations | |
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| Combining Hand Drawing and Digital Color | |
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| Creating Digitally Colored Drawings | |
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| Short Summary of the Digital-Color Process | |
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| Advantages and Disadvantages of Digital Color | |
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| Examples of Digitally Colored Drawings | |
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| The Computer System | |
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| Combining Drawing with Words and Photographs | |
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| The Elements | |
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| Opportunities | |
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| Drawing as a Partner in Communication | |
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| Applications | |
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| Making the Most of Your Rough Sketches | |
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| Learning to Use the Overlay | |
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| Drawing for your First Jury | |
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| Verbal Presentations | |
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| Drawing for Your Portfolio | |
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| The Limitations of the Design Process | |
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| Afterthought | |
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| Bibliography | |
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| Index | |