THE HUMAN MACHINE; Anatomy for the artist, Skeleton, bone, muscle physique, The skull, Anatomy of the hand, Ideal proportions, Divine proportions and golden section, Body Shapes, Pictorial reality, Foreshortening, Balance, symmetry, weight, Manikins and reference, Traditional reference, Drawing from casts, STARTING POINTS; Sketchbooks, Clothing, props, and costume, Models at home, Young models, Models in groups, The naked model, Working with models, IN THE LIFE CLASS; A day in the life class, Observation and interpretation, Variety and stimulation, Methods and materials, The experience of charcoal, LIFE CLASS FIGURE REFERENCE; Model reference payments, Male standing, Male stepping and kneeling, Male under tension and throwing, Male squatting and floor poses, IN THE STUDIO; Posing the female form, Reflections, shapes, volumes, Body maps, two-minute study, Life in colour, 30-minute oil sketch, STUDIO FIGURE REFERENCE; Female standing, Female twisting, Female walking and running, Female foreshortened, Female sitting, Female recumbent, Female sitting, Female kneeling and stretching, HANDS AND FEET; Shape and proportion, Palms, thumbs, and fingers, Fingers and nails, Geometric shape, Forms and volumes, Hands in action, Gripping, Everyday hands, Hands and character, Older hands, Skin and surface, Gloved hands, Hands and arms: holding and folding, HANDS REFERENCE; Opening, clenching, pointing, Relaxing, separate digits, Gestures: playing, pleading, Holding scissors, glasses, cups, Using a knife and fork, HEADS AND FACES; The portrait, Eyes, Nose, ears, and mouth, Hair and features, Complexion, ART DIRECTIONS; Stencil cutout, Figure in three dimensions, Found images, Powerful colours, Collage REFERENCE; Glossary of materials, Index, Acknowledgments
