Summary

"The New Drawing on the Right Side of the Brain" by Betty Edwards explores the fascinating connection between drawing, perception, and the human brain. Edwards argues that drawing is a skill accessible to everyone, not just a select few with innate talent. The book's core premise is that our brains have two distinct modes of thinking: the verbal, analytical L-mode, and the visual, perceptual R-mode. While L-mode excels at language and logic, it often hinders our ability to draw realistically because it relies on memorized symbols rather than direct observation. R-mode, however, perceives the world holistically and spatially, making it ideal for drawing. Edwards explains that learning to draw is essentially learning to access and control this R-mode.

The book presents a series of exercises designed to help readers make the cognitive shift from L-mode to R-mode. One technique is upside-down drawing, which disrupts L-mode's ability to name and categorize, allowing R-mode to take over. Another is pure contour drawing, where the focus is on meticulously tracing edges without looking at the paper. This exercise quiets the verbal chatter of L-mode and enhances the visual perception necessary for realistic drawing. The book also emphasizes the importance of negative space, the area around an object, as a tool for seeing and drawing more accurately. By focusing on the shapes of these spaces, one can bypass L-mode's symbolic thinking and perceive the relationships between objects and their surroundings.

Edwards provides clear instructions for each exercise, along with examples of student work to illustrate the concepts. She also delves into the history of drawing, tracing the development of children's art and explaining how the symbol system formed in childhood can affect adult drawing. The book then progresses to more advanced techniques like portrait drawing, using the proportions of the face to demonstrate the importance of relationships and sighting in art. Edwards also introduces the concept of lights and shadows, or "light logic," showing how the interplay of light and dark creates the illusion of three-dimensionality on a flat surface. She provides detailed instructions on crosshatching and shading techniques to help readers master these skills.

A dedicated chapter explores the use of color in drawing, a transitional step towards painting. Edwards provides advice on color theory, suggesting harmonious color schemes based on complements, analogous hues, and monochromatic palettes. She also discusses the psychological impact of color and its role in art. The final chapter delves into the "Zen" of drawing, emphasizing the meditative and intuitive aspects of artistic expression. Edwards encourages readers to see drawing as a means of self-discovery, a way of connecting with the world through direct perception.

The book concludes with an afterword on handwriting, which Edwards sees as another form of drawing. She encourages educators to recognize the importance of handwriting as an art form and to teach it as a means of self-expression. The postscript offers additional advice for parents and teachers on fostering creativity in children. Edwards argues that the arts are essential for developing whole-brain thinking, not merely "enrichment." She also describes her work in corporate seminars, using drawing as a tool for problem-solving. By learning to draw, she asserts, one can gain valuable insights into perception, cognition, and creativity, and "see the world with an awakened eye, with the eye of the artist within."