horses, 122
human figure. See alsocast drawing
anatomical considerations, 232
color, with pastels, 248–258
demonstration back study, 249–253
foreshortening, 240–243
gallery, 254–259
gesture of the pose, 244–247
guidelines, 236–239
light reveals form, 229–234
museum subjects and old masters to copy, 169–173, 230–235
setting up the model, 228I
inspirational gallery of drawings, 8–13
Internet stores, for art supplies, 29
irregular objects in still life, line drawing, 126–139K
keyed drawing
cast drawing, 178
darkest darks, 58, 178, 217
high-keyed drawing, 105
lightest lights, 58, 84, 178, 180, 217
one-point perspective still life, 84
portraits, 217, 225
two-point perspective still life, 105
kneaded erasers, 17. See alsoerasure, kneadedL
landscapes
aerial perspective, 270–271
demonstration of barn, 104–113
gallery, 274–277
gesture, 263
linear perspective, 268–269
planes, and light source, 267
structure of, 266
thumbnail sketch, 264–265
trees, 272–273
viewfinder, 262
light and shadow. See alsokeyed drawing
cast drawings, 184, 185
demonstration still life of vase and grapes, 50–52, 56–65
form revealed, figure drawing, 230–235
gallery, 66–71
landscapes, 267
peephole, 59
planar rendering, 160–163
portraits, 194–203
reflected light, 64
revealed form in figure drawing, 229–234
squinting, 50–52, 58
still life arrangement, 56–57
texture, 58, 65
tonal range, 53–65trees, 272–273
two-point perspective, 104, 108–111
lightest lights. See alsotonal range
with eraser, 60
half-tones, 180
keyed drawing, 58, 84, 178, 180, 217
in landscapes, 267
lighting
artificial light, 22, 24, 35
cast drawing, 182
human figure, 229
natural light, 23, 24, 35
one-point perspective, 82
planar rendering of complex forms, 155
preparing to draw, 35
still life, 56
studio environment, 22–24
lightness, overstatement of, 64
linear perspective, 268–269, 278
line drawing
completion, 137
continuous motion, 121–122, 138
defined, 278
demonstration still life of palm fronds, 126–139
gesture of still life, 132
graphite marks, 38–43
grid for, 128–132, 134, 156
human figure drawing, 234, 244–247
introduction to, 120–125
light and shadow, 140–145
mapping, 133–137
organic form still life (irregular objects), 126–139
positive and negative shapes, 131
style development, 120–121
lips and mouth, 209–210, 213
live models. SeemodelingM
mapping, 133–137, 158, 278
masking tape, for models’ pose, 228
measurement
cast drawing, 175–176, 186
foreshortening, 240–243
planar rendering, 156
positioning and process, 44–45
preparing to draw, 44–47
proportion determination, 44–45, 175
two-point perspective, 104
metal easels, 27
Metropolitan Museum of Art, NY, 169–173
Michelangelo, 8, 187, 243
mirrors in the studio, 28
modeling
defined, 278
human figure, 228, 249–253
lighting the model, 229
overmodeling, 113, 179, 203, 278
portrait, 214–21718_067154 bindex.qxp 10/2/07 9:59 PM Page 286