1. GETTING STARTED: DRAWING WITH LINE AND THE PROCESS OF SIGHTINGLine Variation and Sensitivity Working from General to Specific The Medium and Surface What is Meant by "Sensitive" Line? Achieving Line Variation and Line Sensitivity Light and Dark or Light Source Weight and Tension "Speed" of Contours and Edges High and Low Points, or Dips and Swells, in Contours Strength or Force of an Edge Spatial Sequence Degrees of Importance Combining Different Methods Different Kinds and Functions of Line Gesture Line Contour Line Modified Contour Line Cross-Contour Line Classical Line Anatomical Line Organizational Line Structural Line Mechanical Line Angular Line Decorative Line Calligraphic Line Broken or Implied Line Altered Line Agitated or Angry Line Process or Searching LineTonal or Dimensional Line Straight-Line Construction Planar Construction Sighting and the Use of a Sighting Stick Why Use Sighting? Guidelines for Sighting Applications of Sighting First Application: Sighting for Relative Proportions Second Application: Sighting for Angles and Axis Lines Third Application: Sighting for Vertical and/or Horizonal Alignments Transferring Sighting Observations to a Drawing Surface 2. THE PRINCIPLES OF COMPOSITION Theory Versus Application Review of Some Simple Definitions Composition Elements (formal elements) Positive Space Negative Space Format Visual Principles of Composition Balance Harmony Variety Emphasis/Domination Movement/Directional Forces Proportion Economy Unity Variable Compositional Elements to Consider Size Position Direction Number Density Interval Proximity or Nearness Similarity Using a Viewfinder: What Does It Do for You? General Guidelines Concerning Composition Pay Attention to Both Positive and Negative Space Consider How the Forms Occupy the Format Watch General Placement of the Forms Consider the Kind of Space You Wish to Establish Consider Viewpoint in Your Composition Consider Options for the Development of Negative Space or Environment Thumbnail Studies as a Method for Exploring Composition3. DEVELOPING VALUE STRUCTURE AND THE ILLUSION OF VOLUME Working With Light and Shadow A General-to-Specific Approach to Building Value Structure Imagine Building a House Using Value to Establish an Effect or a Mood Chiaroscuro Tenebrism Plastic Value Low-Key Value Middle-Key Value High-Key Value Value and Texture Some Different Kinds of Texture --Actual Texture --Simulated Texture --Uniform Texture --Invented Texture --Frottage Four Things to Look for When Identifying Value Structure The Light Source The Shape of Areas of Shadow and Light Variations of Value Within Larger Shapes of Value Edge Quality of Shapes of Value Various Methods for Applying Value Continuous Tone Hatching --Parallel Hatching --Contour Hatching --Cross-Hatching Stippling Mark Making Subtractive Drawing An Alternative Subtractive Process Toned Paper Exercises for Promoting a General-to-Specific Approach Projecting an Inverted, Out-of-Focus Image as a Drawing Reference A Sustained Approach to Gesture Drawing Controlling Some Variables of Value Structure 4. THE ILLUSION OF SPACE AND DEPTH ON A FLAT SURFACE Methods for Indicating Space and Depth Consider the Variables Size Baseline or Position Overlapping Sharp and Diminishing Detail Value Contrast Converging Parallels Linear Perspective Different Kinds of Space Decorative Space Shallow Space Plastic Space Deep or Infinite Space Ambiguous Space The Technique of Scaling to Determine Accurate Size RelationshipsEstablishing Scale Successfully Scale or Unit of Measure Height of Eye Level or Horizon Line Station Point The Process of Scaling General Guidelines for Scaling Creating an Effective Still Life What Kinds of Objects Should be Included? Regular Forms Irregular or Natural Forms Cubic Forms Additional Considerations for Still Lifes The Meaning of Things You Include in a Drawing Using Photographic References5. SPATIAL THINKING AND VISUALIZATION: ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING An Introduction to Perspective What Is Perspective?Different Types of PerspectiveTechnical or Mechanical PerspectiveFreehand PerspectiveLinear PerspectiveAtmospheric PerspectiveBasic Principles of Linear PerspectivePerspective and SightingLimitations of Linear PerspectiveRecommended Sequencing for Maximum ComprehensionSuggestions for Effective Perspective DrawingDetermining the Variable Elements of Perspective Drawing--Scale--Eye Level (EL)--Ground Line (GL)--Station Point (SP)--Central Vanishing Point (CVP) and Special Vanishing Point (SVP) Left or Right--Vanishing Point Left (VPL) and Vanishing Point Right (VPR)--Key Cube or "Mother Cube"--Keeping Things SimplePerspective Materials ListOptional ItemsThe Terminology of Perspective Primary Working Terminology One-Point Perspective (1-PT) Two-Point Perspective/Oblique Perspective (2-PT) Eye Level (EL) Horizon Line (HL) Scale Station Point (SP) Picture Plane (PP) Ground Plane (GP) Ground Line (GL) Cone of Vision (COV) Vanishing Point (VP) Central Vanishing Point (CVP) Special Vanishing Point (SVP) Auxiliary Vanishing Point (AVP) Vanishing Point Three (VP3) Measuring Line (ML) Diagonal Measuring Line (DML) Related Terminology Foreshortening Convergence Position or Base Line Overlap Diminution Additional Useful Terminology Convergence Perpendicular Parallel Diagonal Vertical Horizontal Plane Square Rectangle Circle Ellipse Axis Cube Pyramid Cylinder Cone Sphere Vessel Right Angle Acute Angle Oblique Diameter Circumference Vertex Tangent Point Perspectives and Cubes Constructing a Cube in One-Point PerspectiveConstructing a Cube in Two-Point Perspective Based on Estimation of Cube Depth in Relation to Cube HeightEstimating Cube Depth in Two-Point PerspectiveRespecting the Cone of VisionProximity to Vanishing Points Left and Right and Proximity to the Central Vanishing PointThe Leading Edge of a CubeUsing Perspective Grids Constructing a Gridded Ground Plane in One-Point PerspectiveConstructing a Gridded Ground Plane in Two-Point PerspectiveTo Continue Using the Measuring Line MethodTo Continue Using the Fencepost MethodTo Continue Using the "Converging Diagonals" MethodIncreasing Complexity in the Perspective Environment Multiple or Sliding Vanishing Points Cube MultiplicationThe Fencepost Method for Cube MultiplicationThe Measuring Line Method for Cube MultiplicationDistortion in Cube MultiplicationCube DivisionConstructing Ellipses in One-Point and Two-Point Perspective The Eight-Point Tangent System for Ellipse ConstructionMajor and Minor Axes, Distortion, and Fullness of Ellipses6. ESSENTIAL PRINCIPLES FOR DRAWING THE HUMAN FIGURE Why Study the Human Figure?Classroom Etiquette When Drawing from a ModelThe Process of Sighting in Relation to the Human BodySighting the Human Body for Relative ProportionsSighting the Human Body for Vertical and Horizontal Alignments Between Two or More Landmarks or Reference PointsComparative Proportions in the Male and Female FigureFemaleMaleGesture Drawing or Rapid Contour Drawing Seeing Is the KeyUsing Axis LinesKeeping It SimpleSetting the PaceWorking from the Inside OutEnhancing the Illusion of Volume and Space in the Human Form Line Variation in Figure DrawingScaling Techniques in Figure DrawingA General-to-Specific Approach to Form and Value in Figure DrawingAn Introduction to Portraiture Common ErrorsGeneral Guidelines for Locating Facial Features and Other LandmarksCentral AxisLength of the NoseCenterline of the MouthDistance Between the Eyes in a Frontal ViewEdges or Wings of the NostrilsOutside Corners of the MouthTop of the EarsBottom of the Ears, or the Bottom of the Ear LobesWidth of the NeckThree-Quarter ViewThe Features and Other Significant Aspects of PortraitureThe EyesThe NoseThe MouthThe EarsThe NeckThe ShouldersThe HairValue StructureAn Alternative Viewpoint in PortraitureMapping the Figure in Space Drawing the Figure in an Observed EnvironmentUsing Straight-Line ConstructionCreating Visual Paths of Movement7. THE HUMAN FIGURE AND ARTISTIC ANATOMYArtistic Anatomy Versus Medical Anatomy Anatomy Reveals Itself Major Bones of the Human Skeletal Structure Skull/CraniumList of 15 Individual BonesTorsoList of 18 Individual BonesLeg and FootList of 9 Individual BonesArm and HandList of 6 Individual BonesBony and Other Landmarks in the FigureList of 29 Bony and Other Landmarks in the FigureHelpful Information about the Human Skeletal Structure The SkullAdditional Information About the SkullThe Spinal Column (Back Bone)Additional Information About the Bones of the Spinal ColumnThe Rib CageAdditional Information About the Bones of the Rib CageThe Shoulder GirdleAdditional Information About the Shoulder GirdleThe Pelvis or Ilium (Hip Bone)Additional Information About the Pelvis/IliumThe LegAdditional Information About the LegThe Foot and AnkleAdditional Information About the Foot and AnkleThe Arm and WristAdditional Information About the Arm and WristThe Hand and FingersAdditional Information About the Hand and FingersSuperficial Muscles of the Human Figure Face and HeadList of Individual Muscles and Their FunctionNeckList of Individual Muscles and Their FunctionTorsoList of Individual Muscles and Their FunctionArm and HandList of Individual Muscles and Their FunctionUpper LegList of Individual Muscles and Their FunctionLower Leg and FootList of Individual Muscles and Their FunctionHelpful Anatomical Terminology List of Relevant Anatomical TermsList and Definition of 22 Relevant Anatomical Terms8.

COLOR THEORY AND APPLICATION Understanding ColorColor TerminologyColorHueSpectrumObjective Color/Local ColorSubjective Color (also known as Expressive Color)PigmentsNeutralsNeutralized ColorColor ValueColor IntensityColor TemperaturePrimary ColorsSecondary ColorsIntermediate or Tertiary ColorsComplementary ColorsSplit ComplementAnalogous Colors or Adjacent ColorsTinted ColorToned ColorShaded ColorAdditive ColorSubtractive ColorChromaticAchromaticMonochromatic or MonochromeColor ChordColor DyadColor TriadColor TetradT.