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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 | |