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| Introduction | |
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| Basic principles in drawing animals | |
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| Deciding on specific impressional qualities | |
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| Anatomical knowledge used to pinpoint essence | |
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| Understanding the structural design of an animal | |
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| Deciding on a viewing angle | |
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| Body cover textures | |
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| Learning about proportion - a first priority | |
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| Proportion - a distinctive feature of animal form | |
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| Establishing proportion - a practical guide | |
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| Practical work on proportion | |
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| Repose and motion - structural and dynamic rules | |
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| Modes of standing, sitting and lying | |
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| Modes of locomotive movement | |
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| Exercises in repose and motion | |
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| Freedom - improvisation - experiment | |
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| The forms of the hindleg | |
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| Drawing the construction of the skeleton | |
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| The musculature | |
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| Studies based on a constructional approach and on visualization | |
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| The forms of the foreleg | |
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| Drawing the shoulder and foreleg of specialized runners | |
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| Disposition of the musculature in specialized runners | |
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| The whole leg of a runner: constructional analysis and drawing from imagination | |
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| Drawing the shoulder and foreleg of carnivores | |
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| Basic disposition of the musculature | |
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| A constructional approach combined with visualization | |
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| The special shape of the shoulder girdle in primates | |
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| The form of the trunk | |
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| Study of the vertebral column as a structure creating form | |
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| Drawing the thorax as a plastic core | |
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| Drawing the skeleton of the whole trunk | |
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| Disposition of the pure trunk muscles | |
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| Graphic aids to depicting the body | |
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| Head forms | |
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| Types of skull structures | |
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| Drawing the skull constructionally | |
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| The head and the shapes of its soft parts | |
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| Drawing the head as a whole | |
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| Coming to terms with the whole animal figure | |
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| Drawings as built designs | |
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| Sketching | |
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| Free play | |