When learning to sight angles without a Picture Plane, what is the first step after taping paper to your board?
Explanation
This question tests the understanding of the sequence of operations for sighting. The process is logical: first, establish the constant (the vertical corner), and then compare the variables (the oblique ceiling and floor angles) to that constant.
Other questions
What are the two distinct parts that constitute the skill of 'sighting' in drawing?
According to the chapter, what is the primary reason for locking your elbow when sighting proportions?
What paradox about drawing a table is used as an example of why an artist must 'swallow' visual information from the picture plane?
How does the chapter characterize 'formal' perspective as compared to the 'informal' perspective of sighting?
What was the purpose of the device invented by the Renaissance artist Albrecht Dürer, as depicted in the chapter?
What two unchanging constants are angles always compared to when using the sighting technique?
In the doorway sighting exercise, what width-to-height proportion was measured using the pencil as a sighting device?
What is the primary function of a 'Basic Unit' when starting a drawing?
When sighting angles of a room's corner, what paradoxical discovery is an artist likely to make?
What is the key difference in technique when sighting proportions versus sighting angles?
What term does the text use for the skill of depicting objects realistically in space, comparing it to learning the rules of grammar in language?
Why does the author suggest that students might initially find learning to sight 'left-brained'?
What definition does the chapter provide for the term 'perspective'?
In the context of Dürer's device, what is 'foreshortening'?
What does the student's clever quote, 'You use your pencil to find the ratio 'out there.' You remember it, wipe the measure off the pencil, and remeasure with your pencil in the drawing,' illustrate?
In the perspective drawing exercise, what is the recommended way to choose a site to draw?
What is 'eyeballing' as described in the chapter?
What is the primary purpose of closing one eye when sighting, as explained in the chapter?
According to the text, which statement is true about vertical and horizontal lines in perspective drawing?
When sighting an angle, what does the chapter recommend if you are unsure whether to compare it to vertical or horizontal?
What comparison is made to illustrate the concept of a ratio in drawing?
How did the achievement of Renaissance perspective help artists overcome their mental resistance to optical distortions?
In the perspective drawing exercise, how are the crosshairs used to transfer the Basic Unit from the Picture Plane to the toned paper?
What advice does the author give for dealing with the hardest part of learning to draw: believing your own sights?
Why is it important to use negative spaces when drawing small or complex items like lamps and tables in a perspective scene?
What is the key danger of disregarding proportions in your drawing, according to the quote from artist/teacher Robert Henri?
In the drawing by Charles White, 'Preacher,' the ratio of the head to the model's left hand is given as a surprising proportion. What is that ratio?
What is the proposed reason that 'informal sighting' is much easier and more sufficiently accurate for most drawing than 'formal perspective'?
In the brief practice of sighting a doorway, what happens to the measurement when you relax your elbow after taking a sight?
What does the text mean when it says you cannot 'poke through' the picture plane when sighting angles?
According to the chapter, why is it best to simply remember the visual shape of an angle rather than trying to designate it by degrees?
What is the recommended choice of subject for the 'real' perspective drawing exercise?
What is the process for re-finding your composition on the Picture Plane if you get puzzled by an angle or proportion?
What specific technique does the text suggest for seeing large shapes of lighted and shadowed areas in a composition?
What is the final step in the drawing process after completing the main parts, according to the instructions for the perspective drawing?
What does the author claim is the benefit of the skill of sighting for drawing difficult, foreshortened subjects?
How was Edgar Degas likely using the technique of sighting in his drawing 'Dancer Adjusting Her Slipper'?
The chapter states that learning 'informal perspective' has an advantage for drawing any subject matter. What is this advantage?
What is the author's response to students who complain that learning to sight seems 'left-brained'?
In the table sighting exercise shown in Figure 8-6, what was the measured ratio of the table's width to its length?
What does the Latin word 'prospectus', the root of 'perspective', mean?
According to Graham Collier's quote, what is the effect of perspective once it is accepted as a mechanical formula?
In the exercise to draw a corner in perspective without the Picture Plane, what is the pencil held against to determine the angles of the ceiling?
What is the author's primary piece of advice for completing the final perspective drawing successfully?
What potential problem in public places does the author warn students about when they are drawing?
In the context of the chapter, what does it mean to see 'relationships'?
What does the author suggest is the best way to practice not slanting the plastic Picture Plane?
The Basic Unit in the drawing by Edgar Degas, 'Dancer Adjusting Her Slipper', was identified as being what part of the figure?
What is the final message of the chapter regarding the skill of sighting?