Introduction: Aims and Uses of this Book. I. PERCEPTUAL DRAWING: LINE AND EDGE. Unit A: Draw What You See: A Matter of Choices. Unit B: Many Kinds of Lines: Definitions and Perceptions. Unit C: Contour, The Edge That Isn't There: A Sequential Development. Unit D: The Albers Linear Studies: For Control and Facility. II.

LINEAR ORCHESTRATION: SURFACE, FORM AND EXPRESSION. Unit A: Calligraphic Ribbon: The Double-Edged, Shaped Line. Unit B: Clustering Line: Tone and Texture. Unit C: Linear Surface: Defining Form. Unit D: Expressive Line: Delineating Emotion. III. SEEING THE LIGHT: CLARITY AND SHADOW. Unit A: Continuous Tone: Line as the Edge of Shape.

Unit B: Edgeless Tonality: Scaling Light and Dark. Unit C: Lighting Form and Space: Modeling and Shadowing. IV. READING THE SURFACE: COMPOSITION AND SPATIAL CONCEPTS. Unit A: On the Picture Plane: Structuring the Rectangle. Unit B: Picturing Space: Perspective in Perspective. Unit C: Abstracting Form: Progressive Reduction. V.

THE HUMAN FIGURE: STRUCTURE AND MOVEMENT. Unit A: Skeletal Framework: The Support System. Unit B: Anatomical Basics: Building Bodily Form. Unit C: Imparting Movement: Activating the Figure. VI. EXPANDING SPACE AND TIME: STRETCHING THE SPACE, EXTENDING THE MOMENT. Unit A: Enlarging the Field: Multi-Unit Formats. Unit B: Enlarging the Scope: Multiple Viewpoints.

Unit C: Beyond the Horizon: Fantasy and Illusion. VII. SEEING WITH THE INWARD EYE: THE CONCEPTUAL VISION. Unit A: The Mind's Eye: Sur-reality and Dreams. Unit B: Depicting the Unseeable: Conceptual Drawing. Unit C: Control and Context: Criteria for Choice. VIII. APPENDIX: MATERIALS AND SUPPLIES, PRESENTATION AND DIRECTION.

A: Using Dry Materials. B: Using Liquid Materials. C. Basic Studio Needs and Presentation of Your Work. Bibliography. Index.