rhythm in line drawing, 127, 135, 145
Roman sculpture, 171, 173
rougher surface papers, 18
Rubens, Peter Paul, 142, 232, 234, 235, 242, 268–269S
Sanguine conté crayons, 17
scale
defined, 268
hardness, graphite pencils, 16
landscapes, 262, 268, 275
measuring, 44, 45, 46, 82
of tonal values, 53, 58, 59, 85
sculptures, drawing. Seecast drawing
searching line, 123
setup. See alsostill life
block in, 132
defined, 279
lighting, 22, 24, 35
model for figure drawing, 228
shading stumps (tortillons), 17, 62
shadows. Seelight and shadow
shapes. Seegeometric forms and shapes
size of forms, 84–86
sketch books, 18, 259
softness of graphite pencils (B), 16
spine, awareness of, 232, 244
spontaneity, marks of, 38–43
squinting, 50–52, 58
step back from drawing, 52, 86, 113, 179, 216
still life
defined, 56, 279
light and shadow, 56–57
line drawing, 126–139
one-point perspective, 82–87
planar rendering of complex forms, 154–163
preparing to draw, 32, 35, 44–47
tonal range, 58–63
straight-edge or ruler
grid construction, 129–130
one-point perspective, 74, 82
two-point perspective, 97, 100, 104–105, 110
vanishing point, 78, 82
straight lines, 118
studio environment, 20–29
subjects for drawing. See also specific topics
museum subjects, 169–173, 230–235
preparing to draw, 32–34T
table easels, 27
teeth and mouth, 209–210, 213
texture, 58, 65, 133–134
three-dimensions, 79–80, 240–243. See also specific topics
three-point perspective, 101, 279
thumbnail sketch, 264–265, 279Tiepolo, Giovanni Battista, 240–241
tonal range. See alsoerasure, kneaded; gray tones; keyed drawing
cast drawing, 174–183
developing, 58–63
half tones, 62–63
human figure, 249–253
light and shadow, 53–65
line drawing, 120, 136
one-point perspective, 82–87
peephole, 59
portraits, 53, 194–203
reflected light, 64
tonal values, scale of, 53, 58, 59, 85
tone, defined, 279
toned paper
cast drawing, 170
human figure, 248, 257
portraits, 214
preparing to draw, 36–37
tools for drawing, 16–17
topography of objects, 65
tortillions, 17, 62
tradition of plaster cast drawing, 168
trees, 106–107, 272–273
triangular forms. Seegeometric forms and shapes
two-point perspective
cubes in space, 98–100
defined, 94, 279
demonstration of barn, 104–113
in everyday life, 102–103
gallery, 114–117
versusone-point perspective, 96
versusthree-point perspective, 101
vanishing points, 96–97U
upside down, viewing drawing, 28V
vanishing points
defined, 74, 279
landscapes, 268–269
one-point perspective, 82
parallel lines, 76–77
three-dimensional space, 79–80
tonal range, 82
two-point perspective, 96–97, 105
vantage points
defined, 74, 279
one-point perspective, 82
three-dimensional space, 79–80
three-point perspective, 101
tonal range, 82
two-point perspective, 97, 99
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