PrefaceAcknowledgmentsIntroduction1. Essential Skills and Information: What Every Student Should Know About Drawing Sighting and the Use of a Sighting StickWhy Use Sighting?Guidelines for SightingApplications of SightingTransferring Sighting Observations to a Drawing SurfaceThe Technique of Scaling to Determine Accurate Size RelationshipsEstablishing Scale SuccessfullyThe Process of ScalingGeneral Guidelines for ScalingThe Principles of Composition: Theory Versus ApplicationReview of Some Simple DefinitionsVisual Principles of CompositionVariable Compositional Elements to ConsiderUsing a Viewfinder: What Does It Do for You?General Guidelines Concerning CompositionThumbnail Studies as a Method for Exploring CompositionThe Golden SectionWhat Is the Golden Section?Constructing a Golden RectangleThe Fibonacci SeriesThe Illusion of Space and Depth on a Two-Dimensional SurfaceMethods for Indicating Space and DepthDifferent Kinds of SpaceThe Volumetric and Spatial Effects of ColorLine Variation and SensitivityWorking from General to SpecificThe Medium and SurfaceWhat Is Meant by Sensitive Line?Achieving Line Variation and Line SensitivityDifferent Kinds and Functions of LineWorking with Value StructureA General-to-Specific Approach to Building Value StructureUsing Value to Establish an Effect or a MoodValue and TextureFour Things to Look for When Identifying Value Structure on a FormVarious Methods for Applying ValueExercises for Promoting a General-to-Specific ApproachControlling Some Variables of Value StructureCreating an Effective Still LifeWhat Kind of Objects Should Be Included?Additional Considerations for Still LifesThe Meaning of Still-Life ObjectsUsing Photographic References2. Essential Drawing Principles in Relation to the Human FigureThe Human FigureWhy Study the Human Figure?Classroom Etiquette When Drawing from a ModelThe Process of Sighting in Relation to the Human FormComparative Proportions in the Male and Female FigureGesture Drawing or Rapid Contour DrawingSeeing Is the KeyUsing Axis LinesKeeping It SimpleSetting the PaceWorking from the Inside OutEnhancing the Illusion of Volume and Space in the Human FormLine Variation in Figure DrawingScaling Techniques in Figure DrawingA General-to-Specific Approach to Form and Value in Figure DrawingAn Introduction to PortraitureCommon ErrorsGeneral Guidelines for Locating Facial Features and Other LandmarksThe Features and Other Significant Aspects of PortraitureAn Alternative Viewpoint in PortraitureMapping the Figure in SpaceDrawing the Figure in an Observed EnvironmentUsing Straight-Line ConstructionCreating Visual Paths of MovementThe Figure and AnatomyArtistic Anatomy Versus Medical AnatomyAnatomy Reveals ItselfMajor Bones of the Human Skeletal StructureBony and Other Landmarks in the FigureSuperficial Muscles of the Human FigureAnatomical Terminology3. Spatial Thinking and Visualization: The Essential Principles ofPerspective DrawingAn Introduction to PerspectiveWhat Is Perspective?Different Types of PerspectiveBasic Principles of Linear PerspectivePerspective and SightingLimitations of Linear PerspectiveRecommended Sequencing for Maximum ComprehensionSuggestions for Effective Perspective DrawingPerspective Materials ListThe Terminology of PerspectivePrimary Working TerminologyRelated TerminologyAdditional Useful TerminologyPerspective and CubesConstructing a Cube in One-Point PerspectiveConstructing a Cube in Two-Point Perspective Based on Estimation ofCube Depth in Relation to Cube HeightEstimating Cube Depth in Two-Point PerspectiveUsing Perspective GridsConstructing a Gridded Ground Plane in One-Point PerspectiveConstructing a Gridded Ground Plane in Two-Point PerspectiveIncreasing Complexity in the Perspective EnvironmentMultiple or Sliding Vanishing PointsCube MultiplicationCube DivisionMathematically Precise Cubes in Two-Point PerspectiveConstructing a 30 degree/60 degree Cube Based on Initial Determination of the Height of the Leading EdgeConstructing a 45 degree/45 degree Cube Based on Initial Determination of the Size of the Base SquareFirst Alternative Method for Constructing a 45 degree /45 degree Cube Based on Initial Determination of the Height of the Leading EdgeSecond Alternative Method for Constructing a 45 degree/45 degree Cube Based on Initial Determination of the Height of the Leading EdgeConstructing Ellipses in One-Point and Two-Point PerspectiveThe Eight-Point Tangent System for Ellipse ConstructionMajor and Minor Axes, Distortion, and Fullness of EllipsesUsing Measuring Lines for Regular (Equal) and Irregular (Unequal) Divisions of an AreaSetting Up the Measuring LineThe Process of Dividing a FormApplications for the Use of Regular and Irregular DivisionsInclined Planes in PerspectiveAuxiliary Vanishing Points and the Vertical TraceGeometric Solids and Transparent ConstructionWhat Is Transparent Construction?Establishing the Cubic ConnectionThree-Point PerspectiveConstructing a Form in Three-Point PerspectiveSuggestions for Perspective Exercises4. Developing Ideas, Resolving Problems, and Evaluating ResultsIdeation: Generating IdeasImaginative Thinking and the BrainImagination, Creativity, and BrainstormingDiagnosing Problems in Your WorkInaccurate Proportional, Scale, or Shape RelationshipsMultiple Perspective Eye LevelsForeshortening Inaccuracies or a Lack of ForeshorteningFlat and Restricted Line WorkDetail or Specifics at the Expense of the Larger and More General Underlying FormsScaling Inaccuracies in Relation to Perspective PrinciplesLack of Volume or Timid Value Structure in Three-Dimensional FormsOverly Generalized DrawingSubstituting Recipes or Formulas for Careful ObservationUnintentionally Ambiguous SpaceRigid or Pristine Drawings Lacking a Sense of ProcessDisregard for or Poor CompositionIntentions Versus ResultsDiscovering DisparityDescriptive FeedbackInterpretive FeedbackThe Importance of CritiquesGroup CritiquesIndividual CritiquesKey Questions for Critiquing WorkQuestions Regarding CompositionQuestions Regarding DrawingQuestions Regarding Figure DrawingQuestions Regarding Perspective5. Drawing Materials and ProcessesMedia and Materials for DrawingTraditional and Nontraditional Drawing Surfaces and SubstratesTraditional and Nontraditional Drawing MediaAdditional Materials for Drawing and Related ProcessesTransfer Techniques Combined with DrawingPhotocopy and Laser Print TransfersInkjet TransfersAcrylic Medium TransfersLazertran TransfersAppendixContemporary Art: A Gallery of DrawingsJoe BielMary BorgmanDustan CreechSusan DAmatoBailey DooganRob EvansDan FischerLeah Gregoire PruckaSol KjokSangram MajumdarAntony MicallefChloe PieneBen PolskyJennifer PurdumJon RappleyeRobert SchultzJenny ScobelJoseph StashkevetchRichard TalbotBibliographyIndex.