Drawing on the Right Side of the Brain – chapters 1-3

Chapter summary

Drawing is a global skill, based on a finite set if components. Like other global skills (eg: reading, driving, walking), drawing becomes automatic with practice and no longer requires attention to the component parts. The five basic skills of drawing are:

  • Perception of edges
  • Perception of spaces
  • Perception of relationships
  • Perception of light and shadow
  • Perception of the whole

There are also two additional, advanced skills: drawing from memory and drawing from imagination
The fifth skill (perception of the whole) develops as a natural extension of the first four and does not require specific training, but the first four are pretty much compulsory. Edwards recommends practising them in the order of line > value > colour > painting, much like Speed.

The first few chapters spend a long time discussing the science behind the DRSB method, as well as the repetition of the fundamental assumption of the book: that “drawing is a skill that can be learned by every normal person with average eyesight and average eye-hand coordination” (p3), and that the student does not need to learn how to draw so much as they need to learn how to see by actively engaging their brain in the activity.

“To put it another way, you already know how to draw, but old habits of seeing interfere with that ability and block it.” (p7)

Switching between brain modes

When deciding between the left- and right-brain modes, Edwards says that neuroscientists believe that tasks are performed by one hemisphere or another based on either how fast the hemisphere begins to tackle the task, or which hemisphere most likes the task (perhaps this is the subconscious mind assigning tasks to the thought process it feels is best suited). The dominant left- brain will turn down tasks that are outside its comfort zone, and the assignments in the book are designed to activate the right hemisphere by presenting the left-brain with tasks it is supremely unsuited to.

Drawing as an altered state of consciousness

In DRSB, the key to learning to draw is to create a shift in consciousness which suppresses the language-processing parts of the brain (shift to R-mode, suppress L-mode) and to become familiar enough with this process that it can be triggered at will.

“One drawing task is no harder than any other. The same skills and ways of seeing are involved in drawing still-life setups, and portrait drawing. It’s all the same thing.” (p8)


Drawing my self-portrait was an interesting exercise; I hadn’t appreciated how much my glasses shrank my eyes and it’s the one area I feel is particularly inaccurate – the natural inclination to emphasise the the eyes in addition to knowing that my eyes aren’t as small as they appear has led to inconsistencies. Also, I don’t think my nose is that long.

Exercise 1: Pre-Instruction Self-Portrait

My hand was the first of the pre-instruction drawings I attempted, and it looks like a warm-up piece to me. The lines are heavy and the fingers bear more than a passing resemblance to sausages. It’s not a bad drawing, but it’s not great.

Exercise 2: Pre-Instruction Hand Drawing

I should have taken a break between drawings and I think this is particularly evident with the still-life. The keys were the last things added to the picture and they are definitely not representative of what I could see. Not pictured in this scan: atrocious planning skills – the left of the picture is butted up against the spine of the book while the right disappears into the void.

Exercise 3:Pre-Instruction Still Life

The drawing from memory task wasn’t in the workbook I had, but was in the theory book (my theory book was published later than my workbook), where Edwards discusses the use of symbols which characterises child-like drawings and insinuates itself in observational drawings when the artist hasn’t yet developed the skill to accurately observe the forms in front of them. Enough said, really.

Exercise 3.5: Pre-Instruction Drawing from Memory

I suppose that most people don’t have the same amount of experience with making different marks and enjoy the chance to experiment. I certainly enjoyed it, but I’m not sure how much I learned. Perhaps I need to be more varied in the marks I use rather than going for the same direct approach each time.

Exercise 4:Warm-Up Free Drawing