Drawing on the Right Side of the Brain: The Definitive, 4th Edition

Drawing on the Right Side of the Brain might be the best drawing book ever. As a kid, I was really into art, but like most adults, I've long since lost those abilities. I picked up maybe a dozen books, bought online courses, and watched a ton of YouTube videos, and I felt like I understood so much of the theory of drawing, but nothing was translating to paper when I tried to actually re-create what was in front of me. But then I got this book. And a few days into it, I could suddenly draw. I could draw well. I could beautifully draw my left hand with my right hand. I could draw my cat tower. I could draw leaves and trees. WHAT. HOW. The crazy thing about this book is how well Betty gets in your head. After an exercise, she immediately calls out what probably went through your head, what actions you took, and *what feelings you felt.* She pointed out in one exercise how I probably grabbed a ruler at one point, but then put it down. She said I probably erased something and felt guilty about it. HOW DID SHE KNOW. The actual science behind left brain/right brain stuff is probably outdated. I mean, she wrote this book in the 1970s. Even with revisions, she's not going to re-write the whole book when the fundamental goal of the book is still super effective. The main purpose is to convey this message: your knowledge of what you *should* see is messing up your ability to *actually* see. Example: You expect a chair to have a big wide flat surface for sitting and four feet resting level on the floor, and that's making it impossible for you to draw the chair where your view shows a thin, awkward trapezoid for sitting and feet appearing at different heights because of how perspective works. The books is truly eye-opening and helpful. It's easy to read and fun and entertaining. I purchased the companion workbook, but honestly, that's not super necessary. Also prepare to make yourself a picture plane, so save the amazon box the book arrives in.

"Drawing on the Right Side of the Brain: The Definitive, 4th Edition" by Betty Edwards is a groundbreaking guide that unlocks the secrets of artistic expression and creativity. With its innovative approach to drawing, this book has inspired countless aspiring artists to tap into their right-brain abilities and unleash their full creative potential. From the very beginning, Edwards captivates readers with her unique perspective on drawing as a learnable skill rather than an innate talent. She introduces the concept of the "right side" of the brain as the seat of creativity and visual perception, challenging readers to embrace a new way of seeing the world around them. One of the book's most compelling aspects is its practical approach to teaching drawing techniques. Edwards provides step-by-step exercises and hands-on activities designed to help readers develop their drawing skills incrementally. By breaking down complex concepts into manageable tasks, she empowers even the most novice artist to achieve remarkable results. Moreover, "Drawing on the Right Side of the Brain" is not just a technical manual; it is also a journey of self-discovery and personal growth. Edwards encourages readers to explore their own creativity and artistic vision, guiding them through exercises that stimulate imagination, intuition, and emotional expression. Furthermore, the 4th edition of the book features updated content and additional resources, including new insights into the neuroscience of creativity and expanded chapters on topics such as composition, color theory, and drawing from memory. These enhancements make the book an invaluable resource for both beginners and experienced artists alike. In conclusion, "Drawing on the Right Side of the Brain: The Definitive, 4th Edition" is a must-have resource for anyone seeking to unlock their creative potential and master the art of drawing. With its practical exercises, insightful teachings, and inspiring philosophy, this book has earned its reputation as a classic guide to drawing and a timeless source of inspiration for artists of all levels.

This was my college text book. I loved this book. Someone stole my old copy. My son wanted to read it.

I decided at 70 to try to learn to draw. My friend is a beautiful artist and suggested this book. Prior to purchasing I was giving up on learning to draw, but this book has given me confidence. I have followed all the exercises and so amazed at what I have accomplished. Of course with anything, practice, practice and more practice, but I am having fun. I am so glad I purchased this book as it has taught me so much. Following the exercises are important and I am glad I did.

Don't get me wrong, I love this book. I nearly read it all in three sittings and I really love the approach. The very good: Excellent book for beginners, it will coach you to draw what you see, not what you think. Absolute must if you are interested in the dichotomy between left and right brain hemispheres and how they interact. The introduction captivated me, and further exercises are great experiments to experience the switching of processing between the two halves of your brain first hand. I knew about it but I didn't think it could be made so obvious. The only good: The author describes five skills that together compose drawing skills: - Perception of edges - Perception of spaces - Perception of relationships - Perception of lights and shadows - Perception of gestalt The first four could be reduced to three in my view but I am willing to accept the four. If the first four were properly rendered, the fifth would derive naturally. Once a face is out of proportions, the correction of resemblance will require correcting the rendering of the first four. "Gestalt" here is not a skill, it is an effect. The not good: Very little that I find unacceptable, really. Mostly in the explanation of perspective. The explanation of point of view is perfect except it starts by "In a one point perspective drawing...". No. Every realistic drawing (the point of this book) has one point of view and only one, however many vanishing points there are. Yet this statement is still accurate, it just suggests that the definition does not apply to multiple points drawings. I was willing to overlook that one. Then on page 151 a drawing purporting to explain two points perspective using two cubes commits the sin the author has been warning us against since the beginning of the book: she draws what she thinks and not how it is. The drawing represents two cubes and two vanishing points for each - so far so good assuming that the cubes do not have parallel faces. The problem is that the two vanishing points of the farther cube are between the two vanishing points of the closer cube, which is not possible if these are indeed cubes as stated in the caption. If the cubes have parallel faces then their vanishing points are common; if not, they alternate on the horizon as both faces of the second cube turn in the same direction with regards to the first cube. (I attach a picture of the book and one of a quick drawing on my whiteboard - I don't pretend my drawing is perfect but it illustrates my qualms.) I can hear people calling me picky on this one and I certainly feel that way. One full star off just for that? Well, I am following an art class and some of my fellow students have a very hard time getting over this one. To compound the confusion, the drawing frame in the book picture shows another horizontal line without explanation, leading some to infer this is the "actual" horizon. (For the records I studied Math and then mechanical engineering before CAD systems were ubiquitous, which meant designing mechanical parts on paper with compass, tees and rulers, and I have been drawing for well over 40 years. I took this drawing class to qualify for painting next year.) Finally the author does not mention that vanishing points do not have to be on the horizon, as if all groups of parallel lines in the 3D world had to be either horizontal (vanishing points on the horizon) or vertical (represented as parallel lines in most usual drawings). Three points perspective is barely mentioned about tall buildings drawn from street level and to state it is very rare in drawing. All in all this remains an *EXCELLENT BOOK*, clearly the best I have seen about teaching realistic drawing so far. Best for - People who want to learn to draw realistically - People interested in the brain processes involved in drawing and in particular the processing differences of the two brain hemispheres. The only caveat is about perspective. Too bad.

THE FIRST TIME I PURCHASED THIS BOOK WAS IN THE 1980'S. IT IS WONDERFUL. I HAVE GIFTED MANY UPCOMING ARTISTS. THE FIRST TIME I PURCHASED THIS BOOK, I DIDN'T DO THE TEACHING EXAMPLES, I JUST READ IT AND AFTER READING IT, I WAS A BETTER ARTIST. I HIGHLY RECOMMEND THIS BOOK. I HOPE IT GIVES OTHERS AS MUCH INSTRUCTION AND JOY AS IT HAS GIVEN ME

Betty Edwards takes you on a journey that is not just about learning how to draw a curve or a shape, but rather deeply psychological and actually plays deeply with mindfulness work, negotiation stuff I'm learning, and more... How you ask? By teaching you how to truly observe what is right in front of you and do your level best to replicate it while leaving the imprint of your own stylish elements as an artist. You are taught how to activate those perceptual centers and get out of your head from those over analytical racing thoughts that run through our minds til your mind focuses what is right in front of you regardless of how you feel about it. It takes you away from ambiguity and paradox to what is. It teaches you how to concentrate on hand and eye moments and to note the nameless shapes and curves rather than the preconceived bias of notions of shapes that affect your ability to replicate. It shows you the psychological truths of how we work in an artistic way to develop perceptual thinking and reduce cognitive dissonance and why for thousands of years artists vs politicians have been that artists will paint what their mind sees no matter how ugly or awful it is or how beautiful or pleasant it is, they just pain what their mind directs them to. It teaches us how to access the deepest recesses of our subconscious til we let go. This is the brilliance of how she presented her drawing lessons. And in just weeks you will go from barely being able to draw to being able to at least do a somewhat realistic portrait although not full on hyperrealism If you learn this book, it will then be a greater stepping stone to learning hyperrealism from elsewhere

I bought this last Christmas for a close friend of mine (20) who, after seeing me doodle, expressed that she had always wanted to draw and felt she was unable to. She was under the (really common) impression that you are "born" with the ability to draw well - and I'd almost take offense at that; I work really hard to be able to draw like I do! (I can certainly draw and paint, though I'm no Picasso.) After some research, I discovered the incredible reviews, not to mention the results, from the people who have read this book or been to one of Betty Edward's classes. And I saw in her teaching something that I had taught myself, but had not yet been able to put into words: when you draw, accurately, you override your brain at every stage telling you "no, a foot looks like THIS", or "Actually, eyes are shaped like THIS", and you really *see* what is in front of you. It's not a magic ability or a genetic quirk, it's simply a skill that anyone can learn with the right teacher. And Betty Edwards is most certainly that teacher! The book has gone down a huge success with my friend, whose enjoyment is only matched by her enthusiasm to learn, and honestly, it's a great gift for me to see someone I'm close to enjoy the same thrill that accompanies artistic improvement, and for me to have played a part in that. The book itself is a fascinating read and the exercises are incredible - though if I recall correctly, some of the science behind the left/right brain hemispheres has been debunked recently? In any case. Whether you are 15 years old and unhappy with the pace of your school's art class, or 20 and wishing you could draw anything besides a wonky smiley face, or 60 and regretting a life not spent with a pencil and paper: Get, and put to use, this book. It is the best starting point I've ever heard of, excepting perhaps the classes held by the author herself. And if Dr.Edwards could ever find the time to visit Ireland, I can guarantee she'll have at least a +2 for any classes she sets up! We'll drag along everyone we know if we have to!

This edition is great. Very high quality and a beautiful book altogether. Recommended.

Il libro sembra molto interessante, ben fatto e giustamente prende per la manina e rassicura chi parte da zero assoluto (o sottozero, come nel mio caso). Serve un minimo di attrezzatura da acquistare e/o fabbricarsi (ho usato un pezzo di plexiglass per il 'frame'), sarebbe utile poterla acquistare insieme al libro. Non sono ancora andato molto avanti perché gli esercizi richiedono un certo tempo consecutivo di concentrazione senza interruzioni, che per me non è facile da trovare, ma mi riprometto di farlo perché penso proprio che ne valga la pena.

I've read quite a few books, as someone totally new but sincere about wanting to learn to draw, I give this book an A+

I read this book during my summer vacations (I am a school teacher). I used to read 4-5 pages everyday and do every exercise as mentioned. I was amazed at the speed of my progress. This book starts with teaching us the importance of drawing. It tells us how drawing- till the 19th century- was considered an utmost important part of education. Then it tells us about left brain and right brain. And then begins the basic components of drawins- perspective, values, proportion etc. Overall, I am truly happy with this book. I still do the exercises mentioned here.