Drawing on Memories: Your History as an Artist

At what age do the drawing skills of most adults in the Western world seem to halt, according to the text?

What term is suggested in the chapter for the disability related to drawing problems, analogous to dyslexia for reading problems?

What does the chapter identify as the 'crisis period' in artistic development for many children?

According to the text, what is a frequent reason, besides the internal 'crisis', that children abandon art as an expressive activity?

At what age does the 'scribbling stage' of drawing typically begin?

What is described as the 'basic discovery of art' made by infants after the scribbling stage?

By around age five or six, children typically develop a set of repeated symbols to create what kind of scene?

In a typical childhood landscape drawing, what do the top and bottom edges of the paper represent symbolically?

What characteristic is noted about the compositions of recalled childhood landscapes drawn by adults?

During the 'stage of complexity' around age nine or ten, what happens to the children's earlier sense of composition?

Around the age of nine or ten, the subject matter of drawings often becomes differentiated by sex. What subjects are typically drawn by girls, according to the chapter?

What is the primary passion for children in their drawing around age ten or eleven, during the 'stage of realism'?

What is the paradox a child must accept to draw a realistic-looking cube from an angle?

What does the chapter identify as the primary dilemma that prevents beginning students from seeing and drawing things as they are?

Which brain hemisphere is described as having 'no patience with this detailed perception' and providing a 'ready-made symbol' for objects?

According to the chapter, where do the ready-made symbols used by beginning adult drawers come from?

What is the solution to the dilemma of drawing, as suggested by psychologist Robert Ornstein?

What is the final reason given for why reviewing your childhood art is important?

According to the description of the 'stage of complexity', which group is more likely to draw hot rods and war scenes?

In the 'stage of symbols', what basic, universally drawn form is used by infants to represent almost anything?

What is the age range for the 'crisis period' where children become sharply critical of their own drawings?

Why do art teachers, as described in the text, often resort to crafts projects with young adolescents?

What reason does the text give for why cartoons appeal to adolescents?

What common feature in a child's drawing of a house is mentioned as almost never being omitted?

The text suggests that for older children, the edges of the paper become almost nonexistent. What is this contrasted with?

In the family portrait drawn by a shy five-year-old, how did the artist express the feeling of being dominated by his older sister?

Why do teachers at the elementary level, according to the text, often feel inadequate to teach realistic drawing?

What does the text state is the belief of children who love realism at age ten or eleven?

The chapter states that 'language has first spoilt drawing and then swallowed it up completely.' Who is this 1930 quote attributed to?

How do beginning adult students 'see' what is in front of them, according to the chapter's summary?

The chapter highlights that drawing is not a vital skill for survival in our culture. What other skills are mentioned as being vital in contrast?

In a figure drawing from the 'stage of symbols', where might arms originate from?

What does the text say about the number of fingers and toes in children's drawings around age four?

What is the consequence of the 'early cutting off of artistic development' for competent adults when they are asked to draw a face?

What does the chapter claim is the reason that most students do not learn how to draw in the early and middle grades?

What is the first step of drawing development mentioned in the chapter, occurring around one and a half years old?

Why is a circular scribbling movement described as 'natural' for a young child?

A girl drawing hands held behind the back is given as an example of a drawing theme for which age group?

The unsuccessful attempts by children to draw a cube that 'looks real' result from a conflict between visual perception and what?

In the example of the child drawing an umbrella, why is the arm holding the umbrella drawn huge in relation to the other arm?

The chapter argues that many children give up drawing at age nine or ten. What do these children grow up to become?

According to the chapter, what is the belief about praise for 'incorrect' cube drawings from the perspective of a young student?

What is the key purpose of the left verbal system in perception, as described in the final sections of the chapter?

The chapter states that 'to see the way an artist sees,' one must do what?

By age four, children's drawings become more complex. What details are mentioned as appearing in drawings at this age?

What is the reason given for why most adults also draw like children?

In the 'stage of complexity', a concern for where things are in the drawing is replaced by what?

What does the text suggest is the main reason for the 'unsticking' of students' artistic development?

At what age do children begin to use drawings to tell stories and work out problems?

What did psychologist Karl Buhler, writing in 1930, claim had 'first spoilt drawing and then swallowed it up completely'?