What does the author believe is the reason that most people 'never learn to see well enough to draw'?
Explanation
This question serves as a summary of the core problem identified in the chapter. The primary barrier to drawing proficiency is not physical but perceptual and cognitive.
Other questions
How does the author compare the process of teaching drawing to the process of teaching someone to ride a bicycle?
What common perception about artistic ability is described as contributing to the mystery surrounding the process of drawing?
According to the author, what is the most critical element an individual must learn to be able to draw, even more so than the drawing skill itself?
The author suggests that drawing involves an ability to make a shift in brain state. How is this different mode of seeing/perceiving primarily characterized?
Which of the following activities does the author propose likely induces a subjective state similar to the one experienced while drawing?
What is the stated primary purpose of the book's exercises, framing drawing as a means rather than an end?
How is the approach of this book described as being different from other drawing instruction books?
The author presents three specific reasons for choosing portrait drawing as a subject for beginners. Which of the following is one of those reasons?
What does the author believe is the reason for the 'often-remarkable gains' and 'rapid rate of improvement' that students achieve?
What is the basic premise of the book, which the author claims provides a 'twofold advantage'?
When artists are asked how they draw, they often give answers that do little to dispel the mystery. Which of the following is NOT an answer the author suggests an artist might typically give?
The author argues that drawing is a learnable skill for every normal person with average eyesight and what other quality?
What is the twofold advantage of making the mental shift to the artist's way of seeing?
How do artists often describe their subjective state while deeply engaged in drawing?
What is the main reason provided for why many individuals never learn to see well enough to draw?
What does the author state is the key to learning to draw, involving a mental shift?
What does the author suggest is a potential outcome of learning to draw, beyond the skill itself?
For whom has the author specifically designed the exercises and instructions in the book?
What is the author's explanation for why you 'already know how to draw'?
Why does the author claim that realism is used as a 'means to an end' in the book's exercises?
What does the author state is the key difference between drawing a still-life, a landscape, and a portrait?
What does the author say is the result of seeing one's own success in drawing portraits, a task often perceived as difficult?
What final thought does the author use to frame the basic premise of the book, drawing a parallel with other great creative individuals?
What attitude do people often have, which the author compares to deciding not to take a French class because you do not already speak French?
The text describes how scientific research makes master drawings seem even more remarkable. Why is this the case?
What does the author state is the actual 'problem' in learning to draw?
Once a person becomes familiar with the drawing mode, what ability are they expected to gain?
What is the author's stated hope for what the book 'Drawing on the Right Side of the Brain' will help individuals achieve?
The author states that creative persons from fields other than art will benefit from the techniques presented. How will they benefit?
What does one of the author's former students say after learning to draw that illustrates a change in perception?
What is the author's view on the relationship between drawing and seeing?
What does the author suggest is the reason that artists themselves often do little to dispel the mystery surrounding their ability?
The author describes the artist's way of seeing as a 'twofold process.' What is the second part of this process?
According to the author, once the drawing mode is familiar, an individual can draw their perceptions even if they have never done what?
What is the intended result of the multiple effects of the exercises in the book, beyond the skill of drawing?
What is the third and final reason the author gives for choosing faces as a drawing subject for beginners?
What analogy does the author use to emphasize that we don't learn a basic skill only to produce elite practitioners?
In the 'Summing up' section, what two skills must be mastered before one can complete the course and enhance creative thinking?
What is the central theme of the quote by Maurice Grosser, 'The Painter's Eye, 1951'?
In the altered state of consciousness experienced during art work, how do artists feel?
What activity is NOT listed as one that can apparently produce a shift in consciousness state similar to drawing?
What is the final piece of advice given at the end of the chapter before beginning the exercises?
According to the author, what is the ultimate goal to which drawing is 'but a key'?
How many reasons does the author provide for selecting portrait drawing for some of the exercises?
What happens to the artist's awareness of words and the passage of time when they enter the 'different subjective state' of drawing?
Based on the text, what is the 'intriguing aspect' of the gains that most students achieve in the author's five-day workshop?
According to the author, what will be 'evident through your creative work', as stated by Albrecht Dürer?
What fundamental belief is at the core of the author's assertion that anyone with average eyesight and coordination can learn to draw?
In the comparison between teaching drawing and teaching someone to ride a bicycle, what does the teacher often end up doing?