Core Idea
- Difficulty
- Medium
- Read it if
- You believe you lack artistic talent and want a structured, psychological approach to learn drawing, or if you're an experienced artist looking to deepen your understanding of visual perception.
- Skip it if
- You are looking for a quick 'how-to' guide with minimal theory, or if you primarily draw abstract art and are not interested in realistic representation.
Key Takeaways from The New Drawing on the Right Side of the Brain
Unlocking the Right Brain
Tap into a different mode of perception for enhanced creativity.
Edwards says drawing is a skill that can be learned by moving from the left-brain's verbal/analytical mode to the right-brain's visual/perceptual mode. Our school system often favors left-brain functions, which can limit the right brain's ability to process things holistically and non-verbally. By using the right brain, people can get past their inner critic and see the world in a more direct, clear way. This shift is important for art, but also for any task needing new problem-solving, pattern recognition, and intuitive understanding. The book gives specific exercises to 'turn off' the left brain, letting the right brain lead in observation and representation.
“The right brain 'sees' things as they are, without judgment or labels, a mode of perception essential for drawing.”
In the book: The core premise is based on Roger W. Sperry's Nobel Prize-winning research on split-brain patients, which demonstrated the specialized functions of the brain's hemispheres. Edwards translates these scientific findings into practical drawing exercises.
Try this: Practice 'seeing' objects as pure shapes, lines, and values, rather than identifying them with verbal labels. Engage in exercises like drawing upside down or contour drawing to bypass left-brain naming and analysis.
Related ideas: right-brain-thinking, hemispheric-specialization, perceptual-shift
The Five Basic Skills of Drawing
Master these fundamental skills to draw anything you see.
Edwards breaks down drawing into five main skills: seeing edges (line), spaces (negative space), relationships (perspective/proportion), light and shadows (shading), and the whole picture. These are not just drawing techniques; they are basic ways of seeing that apply to many parts of life. By focusing on these separate parts, the big task of 'drawing a person' or 'drawing a landscape' becomes easier. This structured approach makes the art process clear, showing that drawing is about developing specific observation skills, not just natural talent. Each skill is introduced with exercises to help master it.
“Drawing is a teachable skill, based on five fundamental perceptual abilities that can be learned and practiced.”
In the book: The entire book is structured around teaching these five skills, with dedicated chapters and exercises for each, such as contour drawing for edges, negative space drawing for spaces, and value scales for lights and shadows.
Try this: Break down complex visual tasks into these five components. When drawing, consciously observe edges, the shapes of negative spaces, proportional relationships, and areas of light and shadow, rather than the object itself.
Related ideas: perceptual-skills, drawing-fundamentals, visual-literacy
The Power of Negative Space
Seeing the 'empty' areas reveals the true form of objects.
One of the book's most important ideas is the focus on negative space. Our left brain tends to focus on 'things' (positive shapes), often making them look distorted. By looking at the shapes of the spaces between and around objects, the right brain can see proportions and relationships more accurately. This technique helps get past old ideas of what an object 'should' look like and instead draw what is actually seen. It is an unusual approach that works well, showing that the 'empty' parts are as informative as the 'filled' parts. This idea goes beyond drawing, offering a new way to see relationships and context in different areas.
“To draw a positive shape accurately, it is often easier to focus on the shape of the space around it – the negative space.”
In the book: The 'Vase-Faces' exercise (Rubin's vase illusion) is a classic example used to illustrate the perception of negative space, forcing the viewer to alternate between seeing two faces and a vase, thereby experiencing the interchangeability of positive and negative forms.
Try this: When drawing, consciously outline and shade the shapes of the spaces surrounding your subject. Imagine these negative spaces as objects themselves, drawing their contours and internal forms.
Related ideas: negative-space, figure-ground-perception, holistic-vision
Overcoming Perceptual Blocks
Identify and conquer the 'symbol system' that hinders accurate drawing.
As children, we learn a 'symbol system'—simple pictures for common objects (e.g., a stick figure for a person, a house shape with a triangle roof). While useful for quick communication, these symbols become fixed and stop us from truly observing. When we try to draw, the left brain often uses these symbols instead of letting the right brain see the actual visual information. Edwards provides exercises to help break free from relying on symbols, encouraging a return to direct observation. This is a key step in learning to draw accurately and is also relevant in other fields where old ideas can limit new thinking.
“Our symbol system, while efficient for communication, can become a block to seeing things freshly and accurately when drawing.”
In the book: The exercise of drawing a self-portrait or a hand without looking at the paper, then comparing it to a drawing made while observing, vividly demonstrates the difference between drawing from memory/symbols and drawing from direct perception.
Try this: When you catch yourself drawing a 'symbol' (e.g., a generic eye instead of your specific eye), pause and force yourself to look again at the actual object, focusing on unique details, angles, and relationships.
Related ideas: symbol-system, perceptual-biases, unlearning
Drawing as a Problem-Solving Tool
Utilize visual thinking for clarity and innovative solutions.
Beyond art, Edwards says the visual skills learned through drawing are useful for problem-solving in business, education, and daily life. The ability to see relationships, analyze parts, and understand the whole is basic to understanding complex issues. Drawing makes you observe details and think spatially in ways that verbal or number analysis alone often misses. It lets you show thoughts, making abstract ideas real and helping communication. By using the five basic drawing skills for non-art challenges, people can find new ways to innovate and understand, moving beyond simple linear thinking to a more complete approach.
“The skills of drawing are not just for art; they are powerful tools for seeing, thinking, and problem-solving in any field.”
In the book: The book includes new sections on applying drawing techniques in business and education, such as using visual mapping or sketching to clarify complex ideas, brainstorm solutions, or communicate strategies more effectively.
Try this: When faced with a complex problem, try sketching it out. Draw diagrams, flowcharts, or even abstract representations of relationships to gain new insights and identify patterns that might be invisible in text-based analysis.
Related ideas: visual-thinking, design-thinking, problem-solving
The Importance of 'P-Mode' Perception
Engage a non-verbal, holistic state for optimal learning and creativity.
Edwards introduces 'P-mode' (Perceptual mode) as the best state for drawing, and also for deep learning and creative insight. This mode is different from the left brain's 'L-mode' (Logical-Verbal mode). P-mode means seeing things as they are, without adding labels, judgments, or past experiences. It is about being aware in the present moment, focusing directly on what you see. This state can be developed through specific drawing exercises, leading to a calmer and more focused mind. The ability to consciously shift into P-mode helps reduce stress, improves concentration, and leads to a deeper engagement with the world, making it valuable beyond just drawing.
“The right-brain mode, or 'P-mode' (Perceptual mode), is characterized by non-verbal, non-linear, and holistic processing, essential for direct apprehension of reality.”
In the book: Exercises like 'upside-down drawing' are specifically designed to force the brain into P-mode by presenting information in a way that L-mode finds difficult to process, thus allowing the right brain to take over and perceive pure shapes and lines.
Try this: When feeling overwhelmed or stuck, try an activity that engages P-mode, such as drawing, listening to non-lyrical music, or mindful observation of nature, to shift your mental state and access different perspectives.
Related ideas: p-mode, mindfulness, flow-state
Seeing Edges and Contours
Focus on the boundaries where forms meet to capture accurate lines.
The first basic skill is seeing edges. An edge is where two surfaces meet, or where an object ends and the background begins. Edwards stresses contour drawing, a slow, careful process of tracing the edges of an object with your eye and your drawing tool at the same time. This exercise makes you observe intensely and carefully, stopping the left brain from adding its symbols. By carefully following the details of an edge—its bumps, curves, and angles—the artist captures the object's unique look. This practice improves drawing accuracy and also general observation skills, training the eye to see small differences often missed in everyday life.
“The perception of edges, the meeting places of two things, is the starting point for all drawing.”
In the book: Blind contour drawing (drawing without looking at the paper) and modified contour drawing (looking at the paper only occasionally) are core exercises provided to develop the perception of edges, forcing a direct connection between eye and hand.
Try this: Before drawing, spend several minutes just observing the contours of your subject. Trace its edges mentally, noting every subtle change in direction and curve, before even putting pencil to paper.
Related ideas: contour-drawing, edge-perception, observational-skills
The Relativity of Proportion and Perspective
Understand that all visual relationships are relative, not absolute.
Seeing relationships—including proportion and perspective—is another important skill. Objects are not drawn alone but in relation to everything else in view. Edwards teaches how to accurately judge sizes, angles, and alignments by comparing one part to another. This involves using tools like a pencil to measure relative lengths and angles, training the eye to see true proportions rather than what the left brain thinks it knows about an object's 'true' size. This relational thinking is vital, as it recognizes that perspective changes reality in predictable ways. Mastery comes from accurately showing these changes. This skill can be used to understand complex systems where parts interact and affect each other.
“All drawing is about relationships: how one part relates to another, and how all parts relate to the whole.”
In the book: Exercises involving sighting with a pencil (holding a pencil at arm's length to measure relative proportions and angles) are central to developing this skill, allowing students to verify their perceptions against objective measurements.
Try this: When drawing, constantly compare the length of one part to another, the angle of one line to a vertical or horizontal, and the spacing between objects, using your pencil as a measuring tool.
Related ideas: proportion, perspective, relational-thinking
Perceiving Lights and Shadows
Translate three-dimensional form into two-dimensional value gradients.
Seeing light and shadows (or values) makes a flat drawing look three-dimensional. Edwards says that shading is not just darkening areas randomly, but accurately observing and showing the gradual changes from light to dark that define form. This means understanding the light source, how it hits an object, and how shadows are cast. Learning to see and draw these subtle value changes requires sustained right-brain attention, as the left brain often tries to simplify or ignore these complexities. Mastering value lets artists create depth, volume, and realism, a skill that improves visual communication in many fields.
“Light and shadow are not just surface decorations; they are the visual information that reveals the three-dimensional form of an object.”
In the book: The 'value scale' exercise, where students create a gradient of tones from pure white to pure black, teaches control over shading and the ability to perceive subtle differences in lightness and darkness.
Try this: Observe how light falls on your subject, identifying the darkest darks, the lightest lights, and the mid-tones. Create a full range of values in your drawing, paying attention to gradual transitions rather than abrupt changes.
Related ideas: value, shading, form-rendering
The Joy of Creative Self-Expression
Drawing is a path to deeper self-understanding and personal growth.
Finally, 'The New Drawing on the Right Side of the Brain' is not just about learning to draw accurately; it is about promoting creativity and personal growth. Edwards highlights that drawing, especially when using the right brain, can be a calming and revealing experience. It allows people to express thoughts, feelings, and perceptions that are hard to put into words. The confidence gained from mastering a difficult skill like drawing often carries over to other parts of life, helping people take on new challenges with a more creative and open mindset. It is a journey of self-discovery, showing that everyone has creative abilities waiting to be used.
“The act of drawing can become a powerful means of self-expression, a way to communicate what cannot be put into words.”
In the book: The book includes sections on using drawing for self-expression and personal insight, encouraging students to draw their dreams, feelings, or abstract concepts after mastering the basic perceptual skills, showing the progression from technical skill to personal meaning.
Try this: Once comfortable with the basic skills, dedicate time to drawing subjects that hold personal meaning or to freely express abstract ideas and emotions, allowing the drawing process to be a form of self-dialogue.
Related ideas: self-expression, creativity, personal-growth
The New Drawing on the Right Side of the Brain Quotes
“Seeing is a more complex process than most people realize. It is not simply a matter of opening your eyes and letting light stream in.”
“The R-mode is visual and perceptual, a faculty for seeing things the way they are in the present moment.”
“The L-mode is verbal, analytic, symbolic, abstract, time-bound, rational, digital, and sequential.”
“The five basic component skills of drawing are the perception of edges, spaces, relationships, lights and shadows, and the whole (or gestalt).”
“The main obstacle to seeing clearly is the brain's tendency to rush to identify and label what it sees.”
“To draw well, you must be able to shift into the R-mode, which means temporarily quieting the L-mode.”
“The upside-down drawing exercise is a powerful way to trick the L-mode into letting go.”
“Drawing is not just a talent, but a teachable skill based on specific perceptual abilities.”
“You can't draw what you don't see.”
“Negative space is just as important as positive form in defining objects.”
“The ability to perceive relationships is perhaps the most advanced of the five basic component skills.”
“Every object you draw has a right side and a left side, a top and a bottom, and a middle.”
“Creativity is not some mystical gift, but a function of the brain operating in a specific mode.”
“The act of drawing can be a form of meditation, a way to be fully present in the moment.”
Quiz
10 questions on the main ideas. Each answer comes with a short explanation.
Question 1
According to Betty Edwards, what is the primary goal of the drawing exercises presented in 'The New Drawing on the Right Side of the Brain'?
- To teach specific artistic styles and techniques.
- To activate and utilize the right hemisphere of the brain for perception.
- To memorize anatomical structures for realistic portraiture.
- To develop fine motor skills for detailed line work.
Show answer
B. To activate and utilize the right hemisphere of the brain for perception. Edwards' core premise is that drawing is a skill primarily involving a specific type of perception, often associated with the right hemisphere, and the exercises are designed to help students access this mode of processing.
Question 2
Which of the following is NOT one of the five basic component skills of drawing identified by Betty Edwards?
- The perception of edges (line drawing)
- The perception of values (light and shadow)
- The perception of perspective (depth)
- The perception of spaces (negative space)
Show answer
C. The perception of perspective (depth) Edwards identifies the perception of edges, spaces, relationships, light and shadow, and the whole (gestalt) as the five basic skills. While perspective is related to relationships, it is not listed as a distinct primary skill in the same way.
Question 3
What is the primary purpose of the 'upside-down drawing' exercise in the book?
- To improve hand-eye coordination for complex curves.
- To trick the left, symbolic brain into disengaging, allowing the right brain to perceive forms purely.
- To practice drawing symmetrical objects accurately.
- To develop a unique artistic style through unconventional methods.
Show answer
B. To trick the left, symbolic brain into disengaging, allowing the right brain to perceive forms purely. The upside-down drawing exercise is a classic technique from the book designed to present familiar objects in an unfamiliar way, bypassing the left brain's tendency to name and symbolize, and forcing the right brain to process pure visual information.
Question 4
In the context of Edwards' theory, what does 'R-mode' perception refer to?
- Rational, logical, and sequential thinking.
- Visual, spatial, holistic, and non-verbal processing.
- Remembering and recalling factual information.
- Reading and writing skills.
Show answer
B. Visual, spatial, holistic, and non-verbal processing. R-mode (Right-mode) describes the perceptual and cognitive functions often associated with the right hemisphere: non-verbal, holistic, spatial, intuitive, and focused on relationships and visual information.
Question 5
The book emphasizes that 'seeing' for an artist is fundamentally different from everyday recognition. What is the key difference Edwards highlights?
- Artists rely more on memory than on direct observation.
- Artists perceive objects as symbolic representations rather than as pure forms.
- Artists engage in a more analytical, left-brained process of naming and categorizing.
- Artists perceive components like edges, spaces, and relationships, rather than just recognizing the 'name' of an object.
Show answer
D. Artists perceive components like edges, spaces, and relationships, rather than just recognizing the 'name' of an object. Edwards argues that everyday seeing is largely a left-brain function of quickly naming and categorizing. Artistic seeing, or R-mode seeing, involves a deeper, more analytical perception of the visual components that make up an object, such as edges, spaces, and relationships.
Question 6
How does Edwards suggest using a 'sight-size' technique or a 'viewfinder' aids in drawing?
- It helps to enlarge small details for easier drawing.
- It provides a framework to isolate and perceive relationships and proportions within a specific visual field.
- It allows the artist to trace images directly onto the paper.
- It replaces the need for understanding perspective.
Show answer
B. It provides a framework to isolate and perceive relationships and proportions within a specific visual field. Tools like viewfinders are used to frame a scene, helping the artist to isolate a manageable portion of reality and focus on the relationships, angles, and negative spaces within that frame, rather than being overwhelmed by the whole.
Question 7
The second revised edition of 'The New Drawing on the Right Side of the Brain' includes new material on which of the following applications?
- Advanced oil painting techniques.
- Using drawing techniques in the corporate world and in education.
- Digital art and graphic design software.
- The history of art and famous artists.
Show answer
B. Using drawing techniques in the corporate world and in education. The provided text specifically states that the second revised edition includes 'new material on using drawing techniques in the corporate world and in education,' reflecting Edwards' expanded scope of application for her methods.
Question 8
Edwards introduces the concept of the 'Cerebral Hemispheres in Conflict' to explain initial drawing difficulties. What is this conflict primarily between?
- The desire to draw perfectly and the fear of failure.
- The left brain's symbolic, verbal processing and the right brain's visual, spatial processing.
- The conscious mind's intentions and the subconscious mind's impulses.
- The need for speed and the demand for accuracy.
Show answer
B. The left brain's symbolic, verbal processing and the right brain's visual, spatial processing. The 'Cerebral Hemispheres in Conflict' refers to the struggle that occurs when the left brain, dominant in verbal and symbolic processing, tries to take over a task that is best handled by the right brain's visual and spatial processing, leading to frustration in drawing.
Question 9
When drawing a portrait, Edwards advises against starting by drawing the 'eyes, nose, and mouth' as distinct, separate features. Why?
- It leads to a caricature rather than a realistic likeness.
- It encourages the left brain to use pre-conceived symbols for features, hindering accurate perception of their unique relationships and forms.
- It is an outdated method no longer used by professional artists.
- It makes the drawing process too slow and tedious.
Show answer
B. It encourages the left brain to use pre-conceived symbols for features, hindering accurate perception of their unique relationships and forms. Starting with individual features encourages the left brain to revert to 'symbol-drawing' (e.g., a generic eye symbol) instead of accurately perceiving the unique shapes, angles, and relationships of the features on the specific face being drawn. Edwards advocates for perceiving the negative spaces and overall relationships first.
Question 10
Edwards suggests that improving drawing skills can lead to broader benefits beyond art itself. Which of the following best describes these benefits, according to the book?
- Increased financial success in creative industries.
- Enhanced problem-solving abilities and new ways of seeing the world.
- A deeper understanding of art history and criticism.
- Improved verbal communication and writing skills.
Show answer
B. Enhanced problem-solving abilities and new ways of seeing the world. The book explicitly mentions 'detailed information on using the five basic skills of drawing for problem solving' and implicitly, through its focus on perceptual shifts, suggests a new way of seeing and understanding the world, applicable beyond the drawing board.
The New Drawing on the Right Side of the Brain FAQ
What is the core concept of 'The New Drawing on the Right Side of the Brain'?
The book teaches individuals to access and utilize the right hemisphere of their brain, which is associated with visual, spatial, and intuitive processing, to improve their drawing abilities. It focuses on perceiving objects as they truly are, rather than relying on preconceived notions.
Does the 'right brain drawing' method actually work for everyone?
Yes, Dr. Edwards' method is designed to be effective for individuals of all skill levels, from complete beginners to experienced artists. By shifting mental modes, it helps overcome common drawing obstacles and unlock inherent artistic potential.
What are the five basic skills of drawing taught in the book?
The five basic skills are the perception of edges, spaces, relationships, lights and shadows, and the whole (or gestalt). Mastering these perceptions allows artists to accurately translate what they see onto paper.
How is 'The New Drawing on the Right Side of the Brain' different from other drawing instruction books?
Unlike many traditional drawing books that focus solely on techniques, this book emphasizes a fundamental shift in perception and cognitive processing. It's less about copying and more about learning to 'see' like an artist by engaging different brain functions.
Can these drawing techniques be applied to problem-solving in other areas of life?
Absolutely. The book includes new material on how the five basic skills of drawing can be leveraged for enhanced problem-solving and creative thinking in corporate and educational settings, extending beyond artistic endeavors.
Is an updated section on using color included in this edition?
Yes, this second revised edition features an updated section specifically dedicated to using color, building upon the foundational drawing skills to help artists incorporate color effectively into their work.
What kind of brain research informs this new edition?
The book incorporates the very latest developments in brain research, particularly concerning hemispheric specialization and cognitive functions related to perception and creativity, to further refine and validate its methodologies.
Does the book provide instruction on self-expression through drawing?
Yes, a significant addition to this edition is new material dedicated to self-expression through drawing, encouraging artists to move beyond mere copying and to infuse their unique perspective and feelings into their artwork.
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