Edwards Betty. The New Drawing on the Right Side of the Brain
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Miro.Joan, 121, ai
mirror handwriting, 42
mirror images, 50-54,113
Mme. Pierre Gautreau (Sargent), 178-80,
iyp,
180,
ipp
models, 104,125,143-44,198-99,213,214,
243-45. y°
for profile portraits, 167-68,170, IJI,
181,182-89, ipo, ipi
modified contour drawing, 94, 96-112,
215-16, 258
on picture plane, 96-104, py, 100, mi
position for, 105,106
toning of paper in, 106—7,
l0
7>
IJO
Molloy, Naveen, 77
Morisot, Berthe, 204,204
Munsell, Albert, 238
Myers, Ronald, 31
N
Natural Way to Draw, T/V(Nicolaides),
navigation, 53,54
Nebes, Robert, 32
negative spaces, xiv, xv, 16,96,116-35,116,
7/7,155,/jf, 157,174,177,196
cognitive shift and, 132-33,133
description of, 117-19
of drawn chairs, 118, up, 123, 127—32, np,
131,132,134,iff
functions of, 123
of handwriting, 2j8, 259-60, 2jp
importance of, 118
positive forms vs., 117-19,120,121-22,
722,155, 196
see also composition
Newton, Isaac, 234—35,23J
Nicolaides, Kimon, 3,88—89, Sp, 233
nonverbal expression, 21-23,
2
j6
Nude Woman with a Staff(Diiver), 122
O
Observer, objective, 46
Olimpio Fusco (Sargent), ipp
O'Neil,Jeanne, 11S
Ornstein, Robert, 82
Orwell, George, 93,169,169
P
painterly style, 23
painting, xxi, 196,239, 245
Shodo, 256
Palmer method handwriting, 255,2jj, 257
Paredes, J. A., 53
pastels, 242—45
perceptual illusions, 164-67,164, ioj, 166
Vase/Faces, 50-54, jo, 61,95,113
perceptual skills, xiv-xv, xvm-xx, 17-18,
21, 40,96,117
"Perceptual Skills in Drawing"
(Edwards), xn
Personages with Star (Miro), 121
perspective, 9,96,102,104,117,138,
'4
2
~J9. 'S3- >S4- '/•?. 196
definition of, 142—43
distance in, 75,140,143,164-65,1(4
exercise for, 152-56,1J3
foreshortening in, 60,97-98,123, IJJ,
H3-4J. '44, yi. 'S«, '57
formal vs. informal, 145,14J, 158
linear, 142
Renaissance, 139,142,143—45,143,144
tiered, 142
vanishing points in, 143,145,14J
perspective devices, mo, 102-3, ">3
photography, 99,152,169
Picasso, Pablo, 22, 25,57-61, jS, 60,73,79,
170, 273
picture plane, 96-104,^7, mo, mi, 108, no
description of, 99
historical use of, 102-3
portraits and, 103
sighting and, 139,140,144,150—51, ijo,
156
single view through, 103-4
three-dimensional space and, 104
picture plane, plastic, 13,96-98,104,105,
107-8, toy, no, 119,143,146-49,146,
148,153,154,155,178,179-80,181,
182,183
picture-plane devices, 102,143—45,144,
<4S
Pines, Maya, 32
Poincare, Henri, 37,39
police artists, 170
politics, 36,37
Portfolio, 13-14
Portrait of Igor Stravinsky (Picasso), ;8
Portrait of the Artist (Fuseli), 194,195-96,
>9S
portraits, 8,170
288
THE NEW DRAWING ON THE RIGHT SIDE OF THE BRAIN
basic poses of, 198—99
copying of masterwork, 178-80,
200—204
picture plane used for, 103
proportions of, see proportions, in
portraits
see also profile portraits; self-portraits
positive forms, 117—19,120,121—22,122,155,
196
Preacber(\\
7
hite), 156
pre-instruction self-portraits, 14—24,69,
224-25
primitive art, 170
Principles of Art, 119
Prismacolor, 23;
problem solving, xm, 6,55,142
at corporate training seminars,
XIV-XVI
profile portraits, 23-24, 24, yS, 158,162-91,
198,199,213,214,218
blanks for, 168-70,169,173-74,1/4
childhood symbol systems and,
162-63, '77' '^
exercise for, 180-89, '&, '83, '84, '85, '86
188
models for, 167-68,170,lyi, 181,182-89,
ipo,
ipi
proportions in, 162,163,164-77; see also
proportions, in portraits
showing of, 189—91
proportion, 96,117,124,131,138,139,
140—51, 156,196, 222—23
Basic Unit of, see Basic Unit
exercise for, 146-51
perceptual illusions of, 164—67, 164,
i6s,
166
ratios in, 139,140—42,141,147-49, iqj,
148,
ijf
scale in, 130,141,146,147
proportions, in portraits, 162,163,164—77,
210—18, 222—23
blanks for, 168-70,168, 173-74,174,
210—13,
2II
>
2
'2,222
central axis in, 168,168,210,211, 21s, 215,
2ij,
216
chopped-offskull error in, 167-74, '^7'
168, i6p, 1/0, 171, 172,174,175
clothing in, 187,188
collar in, 188,188,222
diagrammed, iyo, 212,222
ear placement in, 167,175-77, '75' '7&
184-85, 187, 213, 218, 222
eye level in, 167-70,174,174,184-85,
210,211, 211,215, 215,216
eyes in, 163,184,188,188,212,214, 216-17
in full-face view, 210-13, 222-23
hair in, 167,170,186, 222—23
neck in, 176,176,187,188,188,213, 222
nose in, 184, 211, 214, 216, 217,222
nostril in, 184, I8J, 222
in three-quarter view, 170, lyi, 213—18,
223, 22
7
ProudMaisie (Sandys), 186, i8y
Psychology of Left ana
1
Right, The (Corbalis
and Beale), 31
Pure Contour Drawing, 88—94,
113,177,178
of handwriting, 257—58, 258
paradox of, 93-94
student showing of, 94,py
pure line, 2j
R
Ramirez, Lupe, IJ8
ratios, 139,140—42,141,147—49, i4y, 14S, ijtf
realism, xvm, xix, 8, 24,35,75, 80,124
stage of, 78-81, y8, yp
recalled childhood landscapes, 74-75, y;
Redon, Odilon, 243,244
Reed, William, 256,2j<f
relationships, xiv, xvm, xix-xx, xxi, 52,
96,109,124,138-59,1)8, ijp, 163
horizontal and vertical in, 99-101,130,
131,139,140,141,144,149-51,14P,
'77
see also perspective; proportion;
sighting
Rembrandt van Rijn, 4,2}
Renaissance, 139,142,143-45,143,144,213,
217, 252
right/left confusion, 45
R-mode, xv, xx, xxn, xxm, 35,45, 6i, 138,
145,162,163,223-24,248,270-71
ah-ha! response and, XVII-XVIII, 39
characteristics of, 33,37,38-40,44,
62-63,65,85
color and, 232, 236
navigation by, 53,54
in perception of lights and shadows,
194,196-98, ip8
see a/ro brain, hemispheres of; L-
mode
289
R-mode, cognitive shifts to, xx, 3,4, 5, 7,
8, 46, 50-65, 81,84-85,88,92,94,
108,178
conscious control of, 62,85, 162
negative spaces and, 132-33, rjj
recognition of, 61-62,85,91,131
upside-down drawing exercise for,
55-62, jv? <ft>, 63, 64
Vase/Faces exercise for, 50-54,/.;, 61
Rockefeller, Nelson, 43
Rodin, Auguste, xxv, 6
Rossetti, Dante Gabriel, igp
Rubens, Peter Paul, IJJ
S
Saint Jerome, Study for the (Diirer), &
Salk.Jonas, 180
Sandys, Anthony Frederick Augustus,
1S7
Santoli, Ornella, 257
Sargeant, Walter, 235
Sargentjohn Singer, 178-80, lyp, JSO, ipp
scale, 130, 141,146,147
of value, 194-95
scanning, left-to-right, 236
scribbling stage, 70-71,7/
seeing, xi, xxv, 3, 4,7,8, 9,16, 45,;;,
81-82,162-68,204-7
self-expression, 21-24
handwriting as, 21—23
see also expressiveness
Self-Portrait(Berberet), 243
Self-Porrrait(Courbei), 196, ipy, 200-204
Self-Portmit (Hopper), 205, 206
Self-Portrait(Monsot), 204, 204
self-portraits, 15,16—21,18, ip-20,194,195,
210-27,240
blanks for, 210—13,
2II
>
2I2
<
222
copying of masterwork, 200—204
exercise for, 218-25
full-face, 189,210—13,
2II
>
212
>
2I
4>
222
~
2
3»
222,226
pre-instruction, 14—24,69,224—25
proportions in, 210-18,222-23; see also
proportions, in portraits
showing of, 225-27,226,227
suggestion for, 225
three-quarter, 189,210, 213-18, 214,215,
216,21S, 222,22}, 227
sex differences, 75-76,76
Shah, Indries, 35
Sheeler, Charles, 204,20J, 209
Shepard, Roger N., 3,165,10J
Shodo paintings, 256
sighting, xix-xx, 138-59, ijS, ijp 137, ijp
of angles, 139,140-42,141,144,146,
149-51,149, IJO, 177
eyeballing in, 151,156
of handwriting, 260—63, 260,261
paradoxes of, 139,140—42
picture plane and, 139,140,144,150—51,
IJO, 156
second-guessing of, 154
see also perspective; proportion
Singerjoe, 238,239
Sketches with Two Sowers (Van Gogh),pg
Smith, Peter, 232,236
spaces, xiv, xv, xvm, xix, xxi, 16,75,96,
109, log, 113,138,139,163
negative, see negative spaces
three-dimensionality of, 104,139,142,
194. W
Sperry, Roger W., xii-xm, xvn, xx, xxn,
XXIII-XXIV, 31-34
"Split-Brain and the Culrure-Cognition
Paradox, The" (Paredes and
Hepburn), 53
split-brain studies, 31-35,38,46
tests used in, 33-34
stained paper, 251-52
Stein, Gertrude, 4
Stephan, Michael, 50
still-lifes, xi, 8,122-23
Stravinsky, Igor, 57—6i,/.£ 60,113
Studies of Arms and tegs (Rubens), ijj
Study fir "Madame X"(SiLTgent), ipt)
stuttering, 43
Surrealism, 243
Suzuki, D. T, 248
symbol system, childhood, 17-18, &]-6$,
68-85,88,118, 214-15
complexity stage of, 75-77,76,77
landscape stage of, 73-75,74
in pictures that tell stories, 72-73,72,
73
in profile portraits, 162-63, '77. '88
realism stage of, 78-81,7S, 7P
290
THE NEW DRAWING ON THE RIGHT SIDE OF THE BRAIN
scribbling stage of, 70—71,71
seeing influenced by, 81—85
sex differences in, 75-76, 76
T
Tappen, Heather, i?i
Tart, Charles T., 46,54,8j
thinking modes, xm-xiv, xvn, xxn, 31,
3
2
-3J. 38-39. V-
see also L-mode; R-mode
Three Studies of Hands (Holbein), }S
Through the Looking-Glass and What Alice
Found r&re(Carroll), 42, 84
Thurber, James, 232
Tiepolo, Giovanni Battista, yy
tiered perspective, 142
time, sense of, 40,44, 62, 63, 85
toning, 106—7,
W
7>
Ilo
>
n
&, 127—28,128,130,
touch, sense of, 89
Trevarthen, Colwyn, 31,32
Trukese, 53,54
"Two-Sided Man, The" (Kipling), 40
U
Umbrella Still Life (W'right), 242
upside-down drawing, xn, xxiv, 55-62,
j/jg, 60,63, <%, 113,135,177,178, zyj
value, xxi, 12,194-96, 232,233, 238,239,
240
scale of, 194—95
Van Gogh, Vincent, 9,14,98, p8,170-^73,
172,173, 2ii
perspective device of, 102-3, ">3
Vase/Faces illusion, 50-54, jo, 61, 95,113
Vase of Tulips, The (Cezanne), 122
Verity, Enid, 230
Viewfinders, 13,14,96,97—98,99,101,101,
104,105,106,119,124,126,126,146,
•53. '54, '79. *
2
Vogel, Phillip, 32
volume, no
W
Waller, Fats, 50
Watts, Alan, 122,123
website, author's, 14
wheel of color, 234-37,234,23;
White, Charles, ij-<f
white spaces, see negative spaces
Winter Landscape (Rembrandt), 2j
Woman in a ffitf (Nicolaides), 89
Woman Mourningiy^n Gogh), 172,173
Wright, Laura, 242
Y
KB and Yang, 37
YoungJ. Z., 31
Young Woman in White, Red Background
(Matisse), 125,12J
Z
Zen, 24,122, 248
291
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