What does the author claim will happen to movements like extending your arm and locking your elbow for sighting?
Explanation
This question is not from chapter 6. The provided text does not contain information to answer this question. The provided answer is the most logical one.
Other questions
In the 'Pure Contour Drawing' exercise, what is the recommended duration to set on the timer for the initial drawing session?
What is the primary instruction regarding where to look while performing the 'Pure Contour Drawing' exercise?
According to the author's theory, why is 'Pure Contour Drawing' an effective exercise for shifting to R-mode?
What is the paradox of the 'Pure Contour Drawing' exercise?
How is the term 'edge' defined in the context of drawing as explained in the chapter?
Which of the five perceptual skills of drawing is the primary focus of the 'Pure Contour Drawing' exercise?
When using the plastic Picture Plane for the 'Modified Contour Drawing' exercise, why is it necessary to close one eye?
What is the 'quick answer' provided in the text to the question, 'What is drawing?'
In the 'Modified Contour Drawing of your hand' exercise, what percentage of the time should you be looking at your hand versus the drawing?
What is the purpose of toning the paper with graphite before starting the 'Modified Contour Drawing of your hand'?
What is the mental concept of the 'picture plane' described as being like?
Which Renaissance artist is mentioned as having been inspired by Leonardo da Vinci to build actual picture-plane devices?
What is the recommended strategy when you come to a part of a drawing that imposes its name on you, like a fingernail?
The text compares the marks made in a 'Pure Contour Drawing' to the intense marks on a cave wall made by Paleolithic humans, citing which book?
What does the author suggest you might say to yourself when you experience painful objections from your verbal mode during Pure Contour Drawing?
Which of the following is NOT listed as one of the five perceptual skills of drawing?
The chapter's proposed explanation for the paradox of the Pure Contour Drawing exercise suggests a similarity to what mathematical phenomenon?
When transferring the main points of your hand drawing from the plastic Picture Plane to your toned drawing paper, what kind of transfer is it?
What did art teacher Kimon Nicolaides believe was the reason the contour method improved students' drawing?
What is the key characteristic of a line, or contour, in drawing, as illustrated by the Vase/Faces exercise?
Why does the author suggest that the term 'edge' in drawing has a special meaning different from its ordinary definition?
What is the author's primary reason for stating that the paradoxes of drawing, such as a flat image looking three-dimensional, will happen?
What is 'binocular disparity' and why is it relevant to drawing?
For the 'Modified Contour Drawing' exercise, which object is suggested as being surprisingly the hardest to draw?
What reason is given for why artists like Dürer and Van Gogh used perspective devices?
In the context of the chapter, what happens to the most ordinary things once you have shifted to R-mode?
What is the author's stated belief about the new knowledge of how the brain divides its workload?
What function does the author say your hand and pencil are like during Pure Contour Drawing?
The chapter states that the central problem of teaching realistic drawing to individuals from age ten onward is what?
After completing the 'Modified Contour Drawing of your hand,' the author predicts you will be amazed that you have accomplished what truly difficult task?
What is the fifth and final perceptual skill of drawing listed in the chapter's review?
When you have finished the Modified Contour Drawing, what does the author suggest you do for further practice?
What historical reason does the chapter give for why the concept of the picture plane began to 'fade away'?
What happens if you make a small error in the outline when trying to draw a form and then 'fill in' the parts?
Which of these is NOT listed as a suggested subject for practicing Modified Contour Drawing?
If a student feels they did not attain a shift to R-mode in their first Pure Contour Drawing, the author suggests they try again with a timer set for how long?
Why was the author's initial use of a grid with many lines on the Picture Plane found to be counterproductive?
The author states that in R-mode, the marks you make are often more beautiful than marks made in which other state?
In the 'Modified Contour Drawing' of a hand, how are the crosshairs from the plastic Picture Plane used on the toned drawing paper?
The text states that the artist's style of line, choices for emphasis, and subconscious mental processes enter the drawing, meaning that you have done what in the best sense?
What is the final step in the instructions for the 'Pure Contour Drawing' exercise, after the timer signals you to stop?
How does the author describe the marks in a Pure Contour Drawing, as remarked upon by her friend Judi Marks?
In the 'Modified Contour Drawing' of the hand, what does the author suggest you use the eraser for?
What is the next step in the book's lessons after 'Meeting Edges and Contours'?
The author provides a possible explanation for why Pure Contour Drawing causes L-mode to 'drop out' by saying it is perhaps through what?
In the jigsaw puzzle example, the outer edge of the puzzle, its frame, is also the outer edge of what?
When drawing on the plastic Picture Plane, how should you correct a line?
What does the author claim is the result of careful observation and depiction of a subject?
Which historical artist is noted to have used a glass pane to quickly draw portraits for the court of Henry VIII?