- Page 5 and 6: SKETCHING PEOPLE: LIFE DRAWING BASI
- Page 7 and 8: Introduction | 8Chapter OneOBSERVAT
- Page 9 and 10: INTRODUCTIONEvery artist dreams of
- Page 11 and 12: Chapter OneOBSERVATIONALDRAWINGAll
- Page 13 and 14: POINT-TO-POINTPoint-to-point is an
- Page 15 and 16: 4| Grow the DrawingUse what is alre
- Page 17 and 18: LANDMARKS & PROPORTION: HEAD WIDTHW
- Page 19 and 20: MUSCLESLearning the muscles is part
- Page 21 and 22: Chapter TwoGESTUREIn the last chapt
- Page 23 and 24: 4| Continue Down the Figure Through
- Page 25 and 26: DRAWING SPEEDEven though you are ca
- Page 27 and 28: Chapter ThreeBASIC FORMSOnce you ha
- Page 29 and 30: SQUASHED, STRETCHED & TWISTED SPHER
- Page 31 and 32: PRACTICE: SPHERICAL FIGURESAnalyze
- Page 33 and 34: BUILDING CUBIC FIGURESJust as when
- Page 35 and 36: CYLINDRICAL FORMSThe cylinder share
- Page 37 and 38: COMBINING FORMSWhen constructing a
- Page 39 and 40: ANATOMICAL FORMSAs mentioned in cha
- Page 41 and 42: EXERCISEBUILDING FORM FROM GESTUREH
- Page 43 and 44: FORMS & GESTALTGestalt is a psychol
- Page 45 and 46: SKETCHING WITH VOLUMESOnce you have
- Page 47 and 48: Chapter FourDRAPERYAlthough clothin
- Page 49 and 50: PIPE FOLDThe pipe fold is the simpl
- Page 51 and 52: SWAG FOLDThe swag fold (also referr
- Page 53 and 54:
INTERLOCKING FOLDThe interlocking f
- Page 55 and 56:
SPIRAL FOLDThe spiral fold is a ser
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ZIGZAG FOLDThe zigzag fold is a hyb
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BILLOWING FOLDThe billowing fold (o
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INERT FOLDThe inert fold is what ha
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GESTURE OF CLOTHRemember that every
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CREATING VOLUME WITH DRAPERYAs with
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Chapter FiveEXPRESSIONSWhen we look
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GESTURE OF EXPRESSIONSA person’s
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EXERCISEGESTURE TO EXPRESSIONWhen d
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SKULLThe skull is the foundation of
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HAIR: SHAPE FIRST, DETAILS LASTHair
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EXPRESSION REFERENCE PHOTOSThese ph
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ICONIC POSESWhile body language is
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CLOSED POSESClosed poses are charac
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LEANING AWAYWhether showing aloofne
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DEVELOPING THE POSEThe best way to
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HANDS: BEGIN WITH GESTURESBecause o
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HANDS & EXPRESSIONOnly once the thr
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CHARACTER & SETTINGSetting and prop
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STAGING AND STORYTELLINGInteraction
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LINED UPPeople line up for a number
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ELEVATION DIFFERENCESUsually charac
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OVER-THE-SHOULDER SHOTFocuses atten
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CLOSE OR PORTRAITMEDIUM-CLOSEMEDIUM
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SIMPLE STAGING, TWOEXERCISEPlace th
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STAGING THREE PEOPLEWhen there are
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CREATING A SCENEEXERCISETo make thi
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4| FinishYou have the option to fin
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VALUE & VOLUMEIn order to effective
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MODELING LIGHTAs artists moved from
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LIGHT EFFECTS ON A HEADYou can appl
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UNIFYING VALUESWhen composing an im
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This figure is mostly in the light
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RECOMMENDED BOOKSBelow is a list of
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Action, capturing, 44Alignment, ges
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Art technique | DrawingFluid, fast