New Drawing on the Right Side of the Brain

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Fig. 6-1.right-handed and the right if you are left-handed. Bring yourfingers and thumb together to create a mass of wrinkles inyour palm. Those wrinkles are what you are going to draw—all of them. I can almost hear you saying, "Are you joking?" or"Forget that!"2. Sit in a comfortable position with your drawing hand on thedrawing paper, holding the pencil and ready to draw. Then,put the pencil down and tape the paper in that prearrangedposition so it won't shift around while you are drawing.3. Set the timer for 5 minutes. In this way, you won't have tokeep track of time, an L-mode function.4. Then, face all the way around in the opposite direction, keepingyour hand with the pencil on the drawing paper, and gazeat the palm of the other hand. Be sure to rest that hand onsome support—the back of a chair or perhaps on your knee—because you will be holding this rather awkward position forthe allotted 5 minutes. Remember, once you start to draw, youwill not turn to look at the drawing until the timer goes off.See figure 6-1.5. Gaze at a single wrinkle in your palm. Place your pencil onthe paper and begin to draw just that edge. As your eyes trackthe direction of the edge very slowly, one millimeter at atime, your pencil will record your perceptions. If the edgechanges direction, so does your pencil. If the edge intersectswith another edge, follow that new information slowly withyour eyes, while your pencil simultaneously records everydetail. An important point: Your pencil can record only whatyou see—nothing more, nothing less—at the moment of seeing.Your hand and pencil function like a seismograph,responding only to your actual perceptions.The temptation to turn and look at the drawing will be verystrong. Resist the impulse! Don't do it! Keep your eyes focussedon your hand.Match the movement of the pencil exactly with your eyemovement. One or the other may begin to speed up, but don't letthat happen. You must record everything at the very instant that90 THE NEW DRAWING ON THE RIGHT SIDE OF THE BRAIN
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The NewDra
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The NewDra
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To the memory of my father,who shar
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8. Relationships in a New</
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tests, but at the time they provide
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California State University, Long B
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of the problem (how the parts fit
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IntroductionThe subject of how peop
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I am aware, of course, that additio
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Color in drawingChapter Eleven, "<s
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ain-function study has become forma
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corpus callosum, indicate that the
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DRAWING is A CURIOUS PROCESS, so in
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Gertrude Stein asked the Frencharti
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My students often report thatlearni
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"When the artist is alive in any pe
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2The DrawingExerci
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Drawing materialsT
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What you'll need:• Paper to draw
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out any instruction? On the other h
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Frank FernandezAngie HinckelJohn Da
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ability from the first lesson (befo
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You were seeing and responding to t
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Fig. 2-2. Rembrandt Van Rijn(1606-1
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"Few people realize what an astonis
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essentially alike, or symmetrical,
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As journalist Maya Pines stated inh
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spoon from a group of objects that
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is strongly linked with concepts of
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Dr.J. William Bergquist, a mathemat
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"Approaching forty, I had a singula
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Mirror writing reverses the shapeof
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A comparison of left-mode and right
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Psychologist Charles T. Tart,discus
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Crossing Over:Experiencing the Shif
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your own version of the profile if
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ain-mode that is specialized for th
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al mode. There are other examples.
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know who the person is, the upside-
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3. I recommend that you not try to
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is so far superior to the drawing d
Page 166: consciousness in these terms, and t
Page 170: symbol system seems to override per
Page 174: "When I was a child, I spake as ach
Page 178: Art in schoolEven sympathetic art t
Page 182: Children's repeated imagesbecome kn
Page 186: Fig. 5-7. Landscape drawing by asix
Page 190: divers. They are fascinated by bloc
Page 194: The stage of realismBy around age t
Page 198: "The painter who strives to represe
Page 202: "I must begin, not with hypothesis,
Page 206: "Art is a form of supremely delicat
Page 210: Getting AroundYour Symbol System:Me
Page 214: felt that the reason the contour me
Page 220: Pure Contour Drawing</stron
Page 224: If perhaps you did not attain a shi
Page 228: Fig. 6-2.A good definition of "pict
Page 232: Upside-Down Drawing</strong
Page 236: The picture plane is an imaginaryve
Page 240: "Dear Theo,In my last letter you wi
Page 244: Professor Elliot Elgart of the Univ
Page 248: Fig. 6-14. The position for Modifie
Page 252: Fig. 6-20. Transfer the main points
Page 256: Suggestions for practice: Using the
Page 260: 112 THE NEW DRAWING ON THE RIGHT SI
Page 264: Perceiving theShape of a Space:The
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Let's quickly review the five basic
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Bunny is running at top speed down
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Fig. 7-4.Fig. 7-3. Joan Miro, Perso
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interesting the negative spaces are
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one and one-third.) "How wide is th
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Your Negative Space drawing of a ch
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wonderful shadow of the chair on th
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Try to convince yourself that the c
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and slide projector. In Figure 7-16
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Winslow Homer (1836-1910), Child Se
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Lupe Ramirez.In this chapter, you w
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L-mode will have a field day, but s
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"Point of view is worth eighty poin
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Fig. 8-9. What Dürer saw: Sighting
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Fig. 8-11. Draw the top of the door
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Fig. 8-17. Measure "One..."Obviousl
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shapes. Then, again estimating, dra
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Try to remember that drawingalways
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After you have drawn your BasicUnit
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Artist/teacher Robert Henri sendsa
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Looking aheadThe technique I have j
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Facing Forward:Portrait Dra
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clear perceptions, are stronger for
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of distance on the apparent size of
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eally "out there," for purposes of
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4. If you have newspapers or magazi
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Fig. 9-13. The features only. The c
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Fig. 9-15. Vincent Van Gogh,Woman M
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Placing the ear in a profile portra
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Now you will need to practice these
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1. As always, in starting a drawing
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Now, the real thing: A profile port
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A composition you certainly don't w
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Fig. 9-31. Look for the shape of th
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Fig. 9-37. Note the position of the
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tions you have just sighted. Televi
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"Portrait of Joy" by student Jerome
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Fig. IO-I. Drawing
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and combinations of techniques. Man
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Fig. 10-4.How does R-mode accomplis
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A warm-up exercise: A copy of the C
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Fig. 10-8.Fig. 10-9.Notice also tha
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11. Draw just what you see, no more
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Fig. 10-13. Edward Hopper (1882-196
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Fig. 10-15. Fig. 10-16.Fig. 10-18.
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shapes, relationships of angles and
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Fig. 10-24. The full-face view diag
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Fig. 10-25. A sketch by the authorf
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Fig. 10-28. Fig. 10-29.A three-quar
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12. The ear. The mnemonic for placi
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suggested procedure. Later on, you'
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Fig. 10-35. A diagram of the threeq
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"One of life's most fulfillingmomen
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Two additional self-portraits byins
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Drawingon the Beau
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Fig 11-3. Color Wheel. Complements
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Fig. 11-7. Kathe Kollwitz, Self-Por
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Fig, 11-11. Elizabeth Layton, Self-
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Fig. 11-15. Odilon Redon (1840-1916
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Fig. 11-17. Student Laura Wright, U
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Fig. 11-20. David Hockney, Celia in
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mostly indiscriminate? Or is purpos
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like, and we feel that's sufficient
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physicist and mathematician Isaac <
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hues are complements. This knowledg
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light logic. Use the grid as a boun
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another instance of the transformat
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Because pastels come in a wide rang
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Start your drawing now. You will ne
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"In oneself lies the whole world an
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Through practice, your mind will sh
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"It is not to be despised, in my op
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The Palmer method drill.entries on
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Have soft eyes and a gentle manner.
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Student example of "pure" or "blind
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Decide on a slant, then use sightin
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In drawing, different styles of lin
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Handwriting can stand considerable
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PostscriptFor teachers and parentsA
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David Galin, among other researcher
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inventing a pictorial language with
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For art studentsMany successful con
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GlossaryAbstract Art. A translation
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Nonobjective Art. Art that makes no
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Connolly, C. The Unquiet Grave: A W
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Rodin, A. Quoted in The Joy of Drai
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Bomeisler, Brian, 23-24,24, up, 190
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Fabric of Mind, The (Bergland), XXf
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Miro.Joan, 121, aimirror handwritin
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R-mode, cognitive shifts to, xx, 3,
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Portfolio and Video Ordering<strong
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New Drawing on the Right Side of the Brain

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