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| The Canon and Foreshortening | |
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| The Figure in Motion | |
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| Drawing | |
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| Anatomy | |
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| The Canon | |
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| Movement | |
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| Drawing and Color | |
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| Anatomy of the Human Body | |
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| The Skeleton | |
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| Muscles and Tendons | |
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| The Human Head | |
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| The Three Canons | |
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| The Canon | |
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| The Canon for the Average Figure | |
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| The Canon for the Ideal Figure | |
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| The Canon for the Heroic Figure | |
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| The Individual Canon | |
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| The Male Figure | |
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| Eight Heads Tall | |
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| Two Heads Wide | |
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| Hands and Feet | |
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| Profile | |
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| The Female Figure | |
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| Eight by Two | |
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| Nipples and Navel | |
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| Breasts and Buttocks | |
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| Sketching the Female Figure | |
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| The Pubis and the Center | |
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| The Canon and Age | |
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| Children at the Age of Two | |
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| Six-year-old Children | |
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| Adolescents | |
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| The Canon and Static Poses | |
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| Comparative Morphology | |
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| The Canon of Eight Heads | |
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| Comparison with Other Ideal Canons | |
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| Hands and Feet | |
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| Frontal View | |
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| Symmetry | |
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| Significant Elements | |
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| Facial Features | |
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| Profile | |
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| Silhouette | |
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| Salient Features | |
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| The Head | |
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| Natural Posture | |
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| Static Figures | |
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| Figures in Motion | |
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| Types of Movement | |
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| Credibility | |
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| Foreshortening | |
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| The Horizon Line | |
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| Point of View | |
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| Perspective | |
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| Projected Shadows | |
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| Simple Figures | |
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| Parallelepiped | |
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| Sphere | |
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| Truncated Cone | |
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| Type of Articulation | |
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| Reduction to Simple Figures | |
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| The Artist and Foreshortening | |
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| A Simple Sketch | |
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| Measurements | |
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| Figures in Motion | |
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| Position | |
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| Proportions and Foreshortening | |
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| The Relative Usefulness of the Canon | |
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| Larger, Closer; Smaller, Farther | |
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| An Unconvincing Drawing | |
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| Silhouette and Color | |
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| An Accurate Profile in Foreshortening | |
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| Light and Shadow | |
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| Color and Shape | |
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| Weave and Texture | |
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| Inner Lines | |
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| The Complete Sketch | |
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| Interest of Inner Lines | |
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| Expressing Volume | |
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| The Artistic Line | |
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| Analysis of Movement | |
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| Observation | |
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| Is There a Sequence? | |
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| Selecting a Phase of the Movement | |
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| Expression | |
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| Describing Movement | |
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| The Anatomy of Movement | |
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| The Muscles Used | |
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| The Face Muscles | |
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| Continuous Motion | |
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| A Succession | |
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| A Representative Image | |
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| Frozen Movement | |
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| Factors in Expression | |
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| Help from Photography and Video | |
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| Snapshots | |
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| The Artist and Movement | |
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| Sketches and Projects | |
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| The Articulated Wooden Mannequin | |
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| Foreshortening in Practice | |
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| The Postures of Movement | |
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| The Mannequin's Limitations | |
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| The Physical Expression of Exertion | |
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| A Different Problem Every Time | |
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| What Muscles Are Like | |
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| Exertion: From Mild to Intense | |
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| The Clothing | |
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| Muscles in Action | |
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| Muscles Increase in Volume | |
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| Profile | |
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| Tendons | |
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| Facial Expression | |
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| The Transformation of the Facial Features | |
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| Concentration | |
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| Exertion and Pain | |
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| Gravity | |
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| Contact | |
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| Impulse | |
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| The Landing | |
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| In the Air | |
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| The Center of Gravity | |
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| Quick Sketches | |
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| Models | |
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| Synthesis | |
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| Technique | |
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| Mediums | |
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| Mediums for Drawing | |
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| Line | |
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| Shading and Coloring | |
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| Consistency of Tone | |
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| Direction | |
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| Pastels | |
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| Pastel Lines | |
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| Colors | |
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| Blending and Fading | |
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| Colors or Values | |
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| Chiaroscuro | |
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| Oils | |
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| Brush Strokes | |
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| Dense, Opaque Oils | |
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| Transparent Oils and Glazes | |
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| Gradations | |
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| Reflections and Shapes | |
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| Watercolors | |
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| Color and Texture | |
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| Using the Brush | |
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| Controlling the Water | |
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| Spontaneity | |
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| Acrylics | |
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| Rapidity | |
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| Different Textures | |
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| Drying Retardant | |
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| Technique and Practice | |
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| Valuation | |
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| Movement and Light | |
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| Numerous Values | |
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| Light and Shadow | |
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| The Valuation System | |
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| Flesh Tones | |
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| Many Skin Colors | |
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| Warm Flesh Tones | |
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| Cold Flesh Tones | |
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| All Colors | |
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| Slight Movement | |
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| Characteristics | |
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| Daily Activities | |
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| Naturalness | |
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| Grasping Objects and Maintaining the Action | |
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| Moderate Movement | |
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| Common Movements | |
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| Combined Actions | |
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| About Flesh Tones | |
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| The Method is Always the Same | |
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| Sports | |
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| Characteristic Movements | |
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| The Prototype of the Athlete | |
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| The Surroundings | |
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| Clothing | |
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| Clothing in General | |
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| Sports Clothing | |
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| Shoes | |
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| Objects and Movement | |
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| Atmosphere | |
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| The Figure and the Background | |
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| An Analysis of the Background | |
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| Framing | |
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| Background Treatment | |
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| Specificity and Generality | |
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| Water As Background | |
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| The Figure in Water | |
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| Weight-lessness Impulsion, and Inertia | |
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| Glimmers and Reflections | |
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| The Surface | |
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| Gravity | |
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| On the Ground | |
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| Shadows | |
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| Coherence of Contact | |
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| More About Surfaces | |
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| Natural and Artificial Light | |
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| Reflection on the Playing Surface | |
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| Ice | |
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| Reflections | |
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| Characteristics of Reflections | |
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| Texture | |
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| Common Objects | |
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| The Hand That Grasps | |
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| More or Less Pressure | |
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| Acceleration and Setting | |
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| The Vehicle | |
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| Objects in Motion | |
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| Position and Movement | |
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| Objects in Perspective | |
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| Coherence Between Object and Figure | |
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| Interpretation | |
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| Emphasis on Conveying Motion | |
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| Visual Language | |
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| The Artist's Sensitivity | |
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| Purpose and Style | |
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| Dramatizing | |
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| Framing | |
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| Stroke and Line | |
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| Brush Strokes | |
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| In Search of Contrast | |