01為什么畫
CHAPTER ONE
1.1 生活........................................................................002
1.2 藝術........................................................................003
1.3 生存........................................................................004
1.4 生命........................................................................008
1.5 繪畫，人類自強不息的證據(jù)................................009
02畫什么
CHAPTER TWO
2.1 畫你喜歡的和愛你所愛，是一樣的道理............012
2.2 了解自己，了解繪畫............................................013
2.2.1 生活心境................................................................013
2.2.2 藝術心境................................................................014
2.2.3 生存心境................................................................015
2.2.4 生命心境................................................................016
2.3 “堅持”是一種危險的狀態(tài).................................017
2.4 對自己在繪畫中未來的期許................................018
03無論你喜歡畫什么，基礎很重要
CHAPTER THREE
3.1 基礎練習的重要性——善事用利器....................020
3.1.1 硬筆........................................................................020
3.1.2 軟筆類....................................................................024
3.1.3 請問，你用的什么工具........................................027
3.2 基礎練習的重要性——目標的明確性................028
3.3 基礎練習的重要性——繪制的完整性................029
3.4 基礎練習的重要性——心態(tài)的穩(wěn)定性................031
04繪畫基礎中的線、面、點
CHAPTER FOUR
4.1 繪畫基礎中的線....................................................034
4.1.1 線的感性................................................................036
4.1.2 定勢線....................................................................038
4.1.3 排線........................................................................039
4.1.4 以面為線、以線為面的形式................................043
4.2 繪畫基礎中的點....................................................044
4.2.1 點畫........................................................................044
4.2.2 點畫對繪畫基礎的影響........................................044
4.3 繪畫基礎中的面....................................................046
4.3.1 速寫的面，線的疏密變化....................................046
4.3.2 素描的面，黑白灰的理解....................................052
4.3.3 寫實的面，色彩的過渡........................................052
4.4 小結........................................................................053
05做有效的基礎練習——基本觀察方法
CHAPTER FIVE
5.1 比例的觀察和理解................................................056
5.2 透視的觀察和理解................................................057
5.3 創(chuàng)作、默寫時候的人體比例和透視....................059
5.4 寫生、臨摹時候的比例和透視.............................071
06人體是造型能力全面提升的“標準”
CHAPTER SIX
6.1 什么是造型能力....................................................079
6.2 基礎不扎實的后遺癥............................................081
6.3 攻克人體 占盡先機..............................................08
07畫人先畫手
CHAPTER SEVEN
7.1 了解手部關鍵點定位............................................086
7.2 描繪手部形態(tài)時線的應用....................................089
7.3 手部不同側(cè)重點的練習........................................090
7.3.1 手背偏輪廓線的速寫練習....................................090
7.3.2 手背輪廓線加結構線（切面柔化）的速寫練習................................................................091
7.3.3 手部側(cè)轉(zhuǎn)偏輪廓線的速寫練習............................092
7.3.4 手部側(cè)轉(zhuǎn)輪廓線加結構線（切面柔化）的速寫練習................................................................093
7.3.5 手掌偏輪廓線的速寫練習....................................093
7.3.6 手掌輪廓線加結構線（切面柔化）的速寫練習................................................................094
7.4 畫手的綜合性提升................................................095
08人體形體基礎認知（上）
CHAPTER EIGHT
8.1 頭 | 頸部................................................................100
8.1.1 頭部正面平視........................................................100
8.1.2 頭部正面仰視........................................................104
8.1.3 頭部正面俯視........................................................106
8.1.4 頭部正側(cè)面平視....................................................108
8.1.5 頭部正側(cè)切面概要................................................110
8.1.6 頭部正側(cè)面仰視、俯視.........................................113
8.1.7 頭部側(cè)面平視.........................................................117
8.1.8 頭部側(cè)面俯視........................................................120
8.1.9 頭部側(cè)面仰視........................................................121
8.1.10 頭發(fā)......................................................................125
8.1.11 繪制頭發(fā)的常用工具...........................................133
8.1.12 小結......................................................................135
8.2 軀干上部（正面 | 男女）.....................................136
8.2.1 正面頸部（男）....................................................136
8.2.2 正面頸部（女）.....................................................138
8.2.3 正面上肢（男）.....................................................138
8.2.4 正面上肢（女）....................................................139
8.2.5 正面上肢運動引發(fā)的變化（男） .......................140
8.2.6 正面上肢運動引發(fā)的變化（女） .......................140
8.2.7 正面完整的腹部與胸廓（男） ...........................141
8.2.8 正面完整的腹部與胸廓（女）............................142
8.2.9 手臂........................................................................145
8.2.10 手臂的簡要特征..................................................147
8.3 以腿部為例，從輪廓特征認知到切面理解的 方式.........................................................................151
8.4 足部.........................................................................153
09人體形體基礎認知（下）
CHAPTER NINE
9.1 正面全身形態(tài).........................................................158
9.2 側(cè)面全身形態(tài).........................................................163
9.3 背面全身形態(tài).........................................................168
9.4 身體分為四個部分的理解和運用練習.................172
9.5 小結.........................................................................173
10基礎練習方法的辨別認知
CHAPTER TEN
10.1 畫人體需要精準的透視輔助嗎..........................180
10.1.1 簡易群體人物的透視運用................................180
10.1.2 視平線移動對群體人物的透視影響................182
10.2 需要精準地解剖分解嗎？把握和理解到 什么程度才合適...................................................186
10.3 什么是基礎練習...................................................189
10.4 從人體練習方面來說，哪些是無效的基礎練習？ 為什么...................................................................189
10.5 采風寫生，作品臨摹，照片寫生， 有什么差別..........................................................190
11有計劃的練習
CHAPTER ELEVEN
11.1 練習的對象感知...................................................192
11.1.1 手部.....................................................................192
11.1.2 頭部.....................................................................196
11.1.3 半身像（含手）.................................................200
11.1.4 全身.....................................................................205
11.1.5 動物.....................................................................209
11.1.6 風景.....................................................................214
11.1.7 單車定項練習......................................................217
11.2 練習的數(shù)量、質(zhì)量和效率..................................220
11.2.1 不求質(zhì)量求數(shù)量的默寫.....................................220
11.2.2 質(zhì)量數(shù)量都要保證的速寫.................................221
11.2.3 保證質(zhì)量、有一定效率的素描.........................226
11.3 練習的周期計劃...................................................229
11.3.1 練習時間（周期）的初始固定.........................229
11.3.2 完成度的初始固定.............................................229
11.3.3 一萬小時定律的實踐.........................................229
12綜合性基礎提升和鞏固
CHAPTER TWELVE
12.1 素描對基礎提升的影響.......................................234
12.1.1 素描的深入.........................................................234
12.1.2 素描的打形..........................................................238
12.1.3 素描的“膩”......................................................238
12.1.4 素描的“快”.....................................................239
12.1.5 大師的素描.........................................................246
12.2 速寫對基礎提升的影響.......................................255
12.2.1 領會用線.............................................................256
12.2.2 用線之前的必要思考習慣.................................259
12.2.3 單排線應用（單排線調(diào)子）.............................262
12.2.4 交叉排線應用.....................................................265
12.3 默寫對基礎提升的影響.......................................269
12.4 畫種對基礎提升的影響.......................................283
12.4.1 水墨：針管筆勾線+墨色快速渲染..................283
12.4.2 水墨：毛筆勾線+墨色快速渲染.....................286
12.4.3 水彩：針管筆勾線+水彩快速渲染.................290
12.5 造型對基礎提升的影響.......................................294
12.5.1 造型非造形.........................................................294
12.5.2 繪畫造型與自我的共生......................................297
12.5.3 造型的線與光影.................................................298
12.6 理解藝術對基礎提升的影響..............................300

13信心和毅力心態(tài)的調(diào)整
CHAPTER THIRTEEN
13.1 像與不像..............................................................302
13.2 放開束縛..............................................................303
13.3 克服惰性..............................................................304
13.4 時間締約..............................................................305
13.5 本性駕馭..............................................................306
13.6 使命潛移...............................................................307
13.7 自由自律..............................................................309
14圖例參考
CHAPTER FOURTEEN
黑白畫的練習...............................................................310

后記...........................................................................336