Beyond the initial five component skills, what are the two additional perceptual skills reviewed in this chapter?
Explanation
This question assesses the reader's ability to identify the two specific, advanced perceptual skills that are the main focus of the second half of the chapter.
Other questions
What is described as a way to quiet the brain's verbal chatter and grasp a fleeting glimpse of transcendent reality?
According to the text, how does drawing reveal facets of yourself that might be obscured by your verbal self?
What is the definition of satori provided in the text?
What is the suggested approach to studying the great masters of the past and present?
What advice does the author give regarding daily drawing practice?
What is described as skill six, a skill that students yearn for but find difficult?
Why does the author state they could not draw an antique railway engine from memory?
What training method for visual memory is attributed to the nineteenth-century artist Edgar Degas?
What is described as the key to training yourself in visual memory?
What is perceptual skill seven, which is said to take one 'all the way to the art of the museums'?
How does the 'dialogue' of skill seven progress, according to the example of drawing a winged dragon?
What is the so-called 'da Vinci device' mentioned as a way to practice the 'dialogue' skill?
What broader application, beyond drawing, is suggested for the imaging skills discussed in the chapter?
According to the chapter, what is the viewer of a drawing able to find or see through the artist's vision?
The text suggests that if a thought pattern is incomplete and not amenable to words and rational logic, a shift to which mode can bring intuition and analogic insight?
What does the author claim is the ultimate goal of the exercises in the book?
What does the text say about the subject matter for drawing?
What is the stated purpose of observing your own style as it develops?
What happens to an image that you draw, according to the section on drawing from memory?
How is the 'dialogue' of skill seven described in relation to a drawing of a winged dragon?
Who did Leonardo da Vinci recommend should practice seeing fanciful images in stained city walls?
What does the author suggest you do when a drawing goes badly?
The chapter states that for a basic understanding of the perceptual processes of drawing, how many basic skills seem sufficient at this time?
What is the key difference between how a person who doesn't draw and an artist understands the ability to draw from memory?
How does the author suggest one can call up scenes they have never viewed?
Which skill is described as having been briefly outlined in Chapter Ten, page 221?
What is one way the author suggests you can nurture the beginning of the 'dialogue' skill?
What does the author suggest you do with your imaging ability to solve a problem?
The final sentence of the chapter encourages the reader to see with an 'awakened eye'. What is this eye also called?
What is the primary way drawing transforms an ordinary sheet of paper, as described in the chapter's opening?
The text states 'learning to draw never ends.' Which artist is quoted as saying this?
With the power of both halves of the brain available, what does the text say the door is open to you becoming?
What is the author's advice on how to use your 'twofold ability'?
According to the story about Edgar Degas, to what floor did his students have to climb after studying the model in the basement?
What is the result of the 'dialogue' in skill seven?
The ability to 'image' in the context of skill six means to do what?
What is the relationship between the two hemispheres when interpreting a drawing according to the text?
How does the author advise you to teach someone else to draw?
The process of 'dialogue' in skill seven starts with what?
According to Leonardo da Vinci's quote, what can the genius of the painter take full advantage of by observing things like spots on a wall or clouds?
When you have shifted to a new mode of seeing, what does the text say you might find yourself looking into?
What does the text say is an urgent need for the survival of our culture?
Through introspection, what two ways of seeing things does the text say you will have the possibility of?
What does the text claim about the benefit of all seven basic skills?
What surprising reaction do people who don't draw occasionally have regarding an artist's ability to draw from memory?
How can drawing give a scene you have never viewed 'a life and reality of its own'?
In the process of the 'dialogue', what do the first few marks on the paper do?
What is the recommended way to play with problems in the 'antic/serious intuitive mode'?
The final paragraph of the chapter suggests that as you look at people and objects in your world, you should imagine you are doing what to see them differently?