INTRODUCTION So You''re Taking a Drawing Class! Where to Begin CHAPTER 1: GETTING STARTED WITH LINE AND THE PROCESS OF SIGHTING 1.1 Line Variation and Sensitivity Working from General to Specific The Medium and Surface What Is Meant by "Sensitive" Line? Achieving Line Variation and Line Sensitivity Different Kinds and Functions of Line Straight-Line Construction Planar Construction 1.2 Sighting and the Use of a Sighting Stick Why Use Sighting? Guidelines for Sighting Applications of Sighting Transferring Sighting Observations to a Drawing Surface CHAPTER 2: THE PRINCIPLES OF COMPOSITION 2.1 Theory Versus Application Review of Some Simple Definitions Visual Principles of Composition Variable Compositional Elements to Consider Using a Viewfinder: What Does It Do for You? General Guidelines Concerning Composition Thumbnail Studies as a Method for Exploring Composition CHAPTER 3: DEVELOPING VALUE STRUCTURE AND THE ILLUSION OF VOLUME 3.1 Working with Light and Shadow A General-to-Specific Approach to Building Value Structure Using Value to Establish an Effect or a Mood Value and Texture Four Things to Look for When Identifying Value Structure Various Methods for Applying Value Toned Paper Exercises for Promoting a General-to-Specific Approach Controlling Some Variables of Value Structure CHAPTER 4: THE ILLUSION OF SPACE AND DEPTH ON A FLAT SURFACE 4.1 Methods for Indicating Space and Depth Consider the Variables Different Kinds of Space 4.2 The Technique of Scaling to Determine Accurate Size Relationships Establishing Scale Successfully The Process of Scaling General Guidelines for Scaling 4.3 Creating an Effective Still Life What Kinds of Objects Should Be Included? Additional Considerations for Still Lifes The Meaning of Things You Include in a Drawing Using Photographic References CHAPTER 5: SPATIAL THINKING AND VISUALIZATION--ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING 5.

1 An Introduction to Perspective What Is Perspective? Different Types of Perspective Basic Principles of Linear Perspective Perspective and Sighting Limitations of Linear Perspective Recommended Sequencing for Maximum Comprehension Suggestions for Effective Perspective Drawing Perspective Materials List 5.2 The Terminology of Perspective Primary Working Terminology Related Terminology Additional Useful Terminology 5.3 Perspective and Cubes Constructing a Cube in One-Point Perspective Constructing a Cube in Two-Point Perspective Based on Estimation of Cube Depth in Relation to Cube Height Estimating Cube Depth in Two-Point Perspective Proximity to Vanishing Points Left and Right and Proximity to the Central Vanishing Point 5.4 Using Perspective Grids Constructing a Gridded Ground Plane in One-Point Perspective Constructing a Gridded Ground Plane in Two-Point Perspective 5.5 Increasing Complexity in the Perspective Environment Multiple or Sliding Vanishing Points Cube Multiplication Cube Division 5.6 Constructing Ellipses in One-Point and Two-Point Perspective The Eight-Point Tangent System for Ellipse Construction Major and Minor Axes, Distortion, and Fullness of Ellipses CHAPTER 6: ESSENTIAL PRINCIPLES FOR DRAWING THE HUMAN FIGURE 6.1 Why Study the Human Figure? Classroom Etiquette When Drawing from a Model The Process of Sighting in Relation to the Human Body Comparative Proportions in the Male and Female 6.2 Gesture Drawing or Rapid Contour Drawing Seeing Is the Key Using Axis Lines Keeping It Simple Setting the Pace Working from the Inside Out 6.

3 Enhancing the Illusion of Volume and Space in the Human Form Line Variation in Figure Drawing Scaling Techniques in Figure Drawing A General-to-Specific Approach to Form and Value in Figure Drawing 6.4 An Introduction to Portraiture Common Errors General Guidelines for Locating Facial Features and Other Landmarks The Features and Other Significant Aspects of Portraiture An Alternative Viewpoint in Portraiture 6.5 Mapping the Figure in Space Drawing the Figure in an Observed Environment Using Straight-Line Construction Creating Visual Paths of Movement CHAPTER 7: THE HUMAN FIGURE AND ARTISTIC ANATOMY 7.1 Artistic Anatomy Versus Medical Anatomy 7.2 Anatomy Reveals Itself 7.3 Major Bones of the Human Skeletal Structure Skull/Cranium Torso Leg and Foot Arm and Hand Bony and Other Landmarks in the Figure 7.4 Helpful Information about the Human Skeletal Structure The Skull The Spinal Column (Back Bone) The Rib Cage The Shoulder Girdle The Pelvis or Ilium (Hip Bone) The Leg The Foot and Ankle The Arm and Wrist The Hand and Fingers 7.4 Superficial Muscles of the Human Figure Face and Head Neck Torso Arm and Hand Upper Leg Lower Leg and Foot 7.

6 Helpful Anatomical Terminology List of Relevant Anatomical Terms CHAPTER 8: COLOR THEORY AND APPLICATION 8.1 Understanding Color Color Terminology The Seven Color Contrasts Color Harmony and Color Chords 8.2 The Spatial and Volumetric Effects of Color Value and Color Temperature and Color Intensity and Color Volume and Color 8.3 Hints for Observing and Recording Color Value in a Color Drawing Intensity in a Color Drawing Complements in a Color Drawing 8.4 Drawing with Color Media 8.5 Colored Pencils Student-Grade Colored Pencils Artist-Grade Colored Pencils Building Your Colored Pencil Collection Colored Pencil Accessories Advantages and Disadvantages of Working with Colored Pencils Colored Pencil Papers Colored Pencil Techniques Resolving Some Limitations of Colored Pencil 8.6 Pastels Student-Grade Pastels Artist-Grade Pastels Pastel Pencils Pastel Accessories Advantages and Disadvantages of Working with Pastels Pastel Papers and Substrates Pastel Techniques Basic Working Procedures 8.7 Oil Pastels Student-Grade Oil Pastels Artist-Grade Oil Pastels Building Your Oil Pastel Collection Oil Pastel Accessories Advantages and Disadvantages of Working with Oil Pastels Oil Pastel Papers and Substrates Oil Pastel Techniques Basic Working Procedures 8.

8 Some Final Thoughts About Working with Color CHAPTER 9: DEVELOPING IDEAS, RESOLVING PROBLEMS, AND EVALUATING RESULTS 9.1 Ideation: Generating Ideas Imaginative Thinking and the Brain Imagination, Creativity, and Brainstorming 9.2 Collage as a Tool for the Exploration of Ideas What Is Collage? The History and Origins of Collage Collage and Related Processes Why Collage-A Tool for Exploring of Ideas and Materials Resources for Collage Substrates or Support Surfaces Adhesives 9.3 Diagnosing Problems in Your Work Inaccurate Proportional, Scale, or Shape Relationships Multiple Perspective Eye Levels Foreshortening Inaccuracies or a Lack of Foreshortening Flat and Restricted Line Work Details or Specifics at the Expense of the General Underlying Form Scaling Inaccuracies in Relation to Perspective Principles Lack of Volume or Timid Value Structure in Three-Dimensional Forms Overly Generalized Drawing Substituting Recipes or Formulas for Careful Observation Unintentionally Ambiguous Space Rigid or Pristine Drawings Lacking a Sense of Process Disregard for or Poor Composition 9.4 Intentions Versus Results Discovering Disparity Descriptive Feedback Interpretive Feedback 9.5 The Importance of Critiques Group Critiques Individual Critiques 9.6 Key Questions for Critiquing Work Questions Regarding Composition Questions Regarding Drawing Questions Regarding Figure Drawing Questions Regarding Perspective Questions Regarding Color CHAPTER 10: DRAWING MATERIALS AND PROCESSES 10.1 Media and Materials for Drawing Traditional and Nontraditional Drawing Surfaces and Substrates Traditional and Nontraditional Drawing Media Additional Materials for Drawing and Related Processes 10.

2 Transfer Techniques Combined with Drawing Photocopy and Laser Print Transfers Acrylic Medium Transfers APPENDIX Contemporary Art: A Gallery of Drawings David Kohan Emily Mayo Egon Schiele Robert Schultz Dragana Crnjak Seth Marosok William Kentridge Shelby Shadwell David Bailin Juan Perdiguero Oscar Ukonu Aneka Ingold Julia Randall Julie Mehretu Michaël Borremans Whitfield Lovell Zaria Forman Glossary of Art Terms Bibliography Index.