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The Fundamentals | |
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Learning to See | |
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An Important Tradition | |
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The Mind's Eye | |
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The Right Frame of Mind | |
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A Sketch to Build On | |
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The Drawing Process | |
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Learning from the Old Masters | |
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The Sketch as Part of the Creative Process | |
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The Figure's Gesture, The Artist's Hand | |
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Expressing Volume, Weight, and Mass | |
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The Schematic Sketch | |
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The Compositional Sketch: Figure-Frame Relationship | |
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The Expressive Content of a Sketch | |
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In the Studio | |
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Proportions, Perception, and Perspective | |
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The Search for a Standard of Proportions | |
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The Eight-Heads-High Standard of Proportions | |
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Sight Measuring Proportions | |
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Plotting the Body's Proportions | |
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Learning to See: Beyond Preperception | |
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Perspective and Its Influence on Proportions | |
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The Development of Linear Perspective | |
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Structural and Planar Analysis | |
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In the Studio | |
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The Magic of Line | |
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The Function of Line | |
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The Phrasing of Line | |
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In the Studio | |
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Value as Light and Form | |
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Rendering Light and Modeling Form | |
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Continuous Tone | |
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Hatch and Cross-hatch | |
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Integrating Value Techniques | |
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Toned Paper and Color Media | |
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In the Studio | |
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Anatomy | |
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Foundations of the Human Structure | |
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A Brief History of Artistic Anatomy | |
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Learning from the Masters | |
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Anatomy as a Whole | |
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Anatomy of the Torso | |
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Articulation of the Limbs and Trunk | |
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Anatomical Differences Between Male and Female Figures | |
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In the Studio | |
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Anatomy of the Limbs | |
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The Leg | |
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The Arm | |
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The Hands | |
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The Feet | |
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In the Studio | |
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Heads and Portraits | |
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The Proportions of the Head | |
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The Anatomy of the Head | |
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Variations in Orientation of the Head | |
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Age and Gender Differences | |
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Portrait Variations | |
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Self-Portraits | |
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In the Studio | |
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Composition and Expression | |
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Composition and the Figurative Formalist | |
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A Figurative-Formalist Bias | |
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Composition | |
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Breaking Up the Pictorial Space | |
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The Abstract Concerns of the New Realist | |
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Light as Structure: The Camera's Influence | |
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Toward Expression | |
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In the Studio | |
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Expression and the Figurative Humanist | |
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Expressing Empathy | |
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Expressing Social Concerns | |
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Self-Expression | |
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Expressing Sensuality: Nude versus Naked | |
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Expressing Cultural Identity | |
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Expressing Subconscious Reality | |
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Expression and Composition | |
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In the Studio | |
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Becoming Your Own Best Critic | |
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Drawing Tools and Materials | |
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Endnotes | |
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Glossary | |
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Index | |
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Useful Websites | |