Monet, Claude, 269, 270
motion and movement. Seedynamism
mouth, 209–210, 213
museum subjects, 169–173, 230–235N
natural light, 23, 24, 35
negative and positive shapes, 131
newsprint paper, 18
nose, 208, 212O
old masters and museum subjects, 169–173, 230–235
one-point perspective
demonstration still life, 82–87
described, 74–75
determination of, 78–79
ellipse, 81
in everyday life, 76–77
gallery, 88–93
perspective grid, 80
tonal range, 82–87
versustwo-point perspective, 96
online stores, for art supplies, 29
organic form still life, line drawing, 126–139
overmodeling, 113, 179, 203, 278
overstatement of lightness, 64P
palm and deer skull still life, 154–163
palm frond still life, 126–139
paper rolls, 18, 40–43
papers
toned, 36–37, 170, 214, 248, 257
types of, 18–19
parallel lines, 76–77, 96
pastels, 248–253
peephole technique, 59, 86, 279
pencils, 16–17, 36–43, 122
pencil sharpeners, 17
perspective. See alsoone-point perspective; two-point perspective
aerial, 102, 270–271, 278
diagrams for, 114–117
grid for, 80
linear, 268–269, 278
three-point, 101, 279
planar, defined, 279
planar rendering of complex forms
cast drawing, 176
cross-sections of form, 150–151
demonstration still life, palm and deer skull, 154–163
demonstration still life, palm fronds, 126–139
facets of form, 148–149
gallery, 164–165
hands, 233
hands and head, 152–153human figures, 231
lighting, 155
material preparation, 154
mouth, 213
nose, 208, 212
portraits, 194–203
subject, choice of, 154
plane
defined, 279
ground plane, 75
human figures, 152–153
landscapes, 267
portraits, 194–203
plaster cast, 279. See alsocast drawing
portraits
allure of, 192–193
anatomical considerations, 204–205
defined, 279
demonstration of young man, 214–217
facial features, 206–213
gallery, 218–225
geometric forms, 194–203
gray tones, 54–55
planes, 194–203
three-dimensions, 194–205
tonal range, 54–55
posing, 214, 228, 234
positive and negative shapes, 131
posture, 214, 234, 244
Poussin, Nicolas, 230
preparing to draw
angles, finding, 46–47
arrangement of subject, 32–34
demonstration still life of vase and grapes, 32, 35, 44–47
eye-level establishment, 32–34
lighting, 35
marks of spontaneity, 38–43
measurement, 44–47
planar rendering of complex forms, 154
proportions, determining, 44–45
tone the paper, 36–37
printmaking paper, 19
proportions, determining, 44–45, 175
purchasing art supplies, 29R
rapid pencil drawing, 122
razor knife, 17, 36
realism, 111
rectangular forms. Seegeometric forms and shapes
reductive drawing. Seetonal range
reflected light, 64
reflections, 140
remembering the models’ pose, 228
removal of grid, 134
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