Facing Forward: Portrait Drawing with Ease

According to the chapter on portrait drawing, what is the 'chopped-off-skull error'?

What is the actual proportional measurement for the location of the eye level line on a human head?

What is the mnemonic provided to help remember the placement of the ear in a profile portrait?

In the exercise for drawing a 'blank' to understand head proportions, what measurement is found to be approximately the same as the distance from your eye level to your chin?

What perceptual phenomenon is illustrated by the drawing in Figure 9-1, which shows four men in a diagrammatic landscape?

According to the mirror exercise described in the chapter, what is the approximate size of the reflection of your head at about arm's distance?

What reason does the author suggest for the perceptual error known as the 'chopped-off-skull'?

Which artist's 1880 drawing of a carpenter is used as an example of someone who initially made the 'chopped-off skull' error in their work?

When drawing the 'blank' for a profile view, how is the shape described?

In a profile view, what facial feature does the bottom of the ear align with horizontally?

What is described as the primary benefit of copying great drawings for beginning students?

When beginning to draw a profile portrait of a live model, what does the author usually use as a Basic Unit?

What is the recommended technique for drawing the iris of the eye to avoid using memorized symbols?

What is the main advice given for drawing hair?

What technique is recommended for drawing strongly symbolic items like collars?

What is the primary purpose of the 'Drawing a blank' exercise?

In the profile portrait exercise, after establishing the Basic Unit of 'eye level to chin', what proportional ratio is suggested for finding the back of the head?

What reason does the chapter suggest for the misperception of proportionate size, such as seeing the distant man in Figure 9-1 as larger?

What happens to the perception of the men in the landscape (Figure 9-1) when the drawing is viewed upside down?

What is described as the main strategy for accessing R-mode when drawing?

When drawing a portrait, what is referred to as the 'only true edge of the mouth'?

For the exercise of drawing a 'real' profile portrait, what kind of person is suggested as a good model because they sit still?

What observation is made about the angle of the centerline of the mouth when seen in profile?

In the detailed instructions for drawing a profile portrait, what is the first part of the face you are instructed to draw after setting up the Basic Unit?

If a portrait model is wearing glasses, what technique does the chapter suggest for drawing them?

Besides the mnemonic, what visual aid does the chapter suggest you can visualize on the model to help place the ear correctly in a profile view?

Which of the following is NOT listed as a skill you will be using to draw a profile portrait?

What is described as a stubborn problem for most beginning students when drawing a profile?

What reason does the author suggest for why beginning students fail to perceive the width of the space between the features and the ear correctly?

What is the stated purpose of the warm-up exercise where you copy the portrait of Mme. Pierre Gautreau by John Singer Sargent?

In the exercise of copying Sargent's portrait, what are you asked to check by drawing a line between the tip of the nose and the outermost curve of the chin?

What surprising observation is made about the proportion of the whole form occupied by the main features in Sargent's drawing of Mme. Gautreau?

In the exercise 'Now, the real thing: A profile portrait of a person', what is listed as the most important item needed?

For the first profile drawing of a live model, what setup does the author suggest for a right-handed person?

What is the ideal distance to sit from a model when drawing a profile portrait, according to the text?

In portrait drawing, what important detail is noted about the whole shape of the eye from the front of the profile?

What is described as a common error in symbolic drawing regarding the placement of the neck?

The introduction to profile-portrait drawing concentrates on two critical relationships that are persistently difficult for students to perceive. One is the location of the eye level. What is the other?

What does the chapter state about the importance of proportion in different artistic styles?

Beyond artists, the chapter mentions several professions whose members develop great facility in perceiving proportion and size relationships. Which of the following is NOT listed?

What is the stated reason that the perceptual phenomenon of the brain changing information is probably essential to ordinary life?

In the mirror exercise, the reflection of a head from arm's distance is found to be about four and one half to five inches. What is this equivalent to?

After the author realized that brain processes were preventing students from seeing the correct head proportions, what did one student say?

What is the first step in the 'Drawing a blank to see better than ever' exercise?

What does the chapter suggest you do with a pencil to check the eye-level proportion on a person on a television screen?

What artistic effect can be created by the 'chopped-off-skull' error, or the intentional enlarging of features relative to the skull size?

According to the chapter, where does the problem lie when students have trouble with portrait proportions?

In addition to the four skills learned so far (edges, spaces, relationships, lights/shadows), what new skill is acquired when drawing a profile portrait?

What drawing error does the mnemonic 'eye level-to-chin equals back-of-the-eye to the back-of-the-ear' primarily help to prevent?

What conclusion does the chapter draw about the relationship between learning to see what is 'out there' and reality?