Literary Devices in The New Drawing on the Right Side of the Brain ✍️

Introduction

Welcome to a journey through the transformative world of The New Drawing on the Right Side of the Brain by Betty Edwards! 🎨 This groundbreaking book, first published in 1979, revolutionized the way we think about drawing and creativity. Betty Edwards, a renowned art teacher and professor, ingeniously bridges the gap between science and art, making the process of learning to draw accessible to everyone, regardless of their perceived talent or experience.

Contents

Set against the backdrop of cognitive and neurological studies of the 1970s, Edwards’s book delves into the idea that the right hemisphere of the brain—often associated with creativity, intuition, and visual perception—is key to transcending the common barriers faced by aspiring artists. The genre of this book is a blend of educational theory, cognitive psychology, and practical art instruction, making it a unique resource for individuals looking to unleash their artistic potential.

Betty Edwards’s approachable writing style, combined with her insightful exercises, has made The New Drawing on the Right Side of the Brain a beloved classic in the field of art education. Whether you’re a seasoned artist or a curious beginner, this book promises to open your eyes to a new way of seeing and drawing the world around you. Let’s dive into the details! 🌟

Plot Summary

The New Drawing on the Right Side of the Brain isn’t a narrative book with characters and a plot in the traditional sense, so summarizing it like a novel with an exposition, rising action, climax, falling action, and resolution doesn’t exactly apply. Instead, the “plot” of this book unfolds as a journey of discovery and skill development in the art of drawing. Let’s break down the main events of this instructional journey:

Introduction — Betty Edwards introduces the concept that drawing is not solely an inborn talent but a skill that can be developed by understanding and leveraging the cognitive functions of the brain, particularly those housed in the right hemisphere.
Seeing vs. Naming — The early chapters discuss the difference between seeing something as we know it (left-brain dominated, analytical) and seeing it as it actually appears (right-brain dominated, perceptual). This distinction sets the stage for learning to draw what we see, not what we think we see.
Perception Skills — The core of the book focuses on developing five basic skills of drawing: the perception of edges, spaces, relationships, lights and shadows (values), and the whole (gestalt). These skills are introduced through various exercises designed to shift the reader’s thinking from the verbal, analytical left brain to the visual, perceptual right brain.
Practical Exercises — Each chapter introduces practical exercises that progressively build the reader’s ability to see and draw accurately. These exercises are the heart of the book, providing hands-on experience with drawing from still life, portrait drawing, and more.
Overcoming Blocks — Throughout the book, Edwards addresses common psychological blocks and misconceptions about drawing, offering encouragement and strategies to overcome these barriers.
Integration and Application — The final sections of the book discuss how to integrate the skills learned into regular practice and how these skills apply to other forms of art beyond drawing, suggesting a climax in personal growth and artistic development.
Continued Growth — The book concludes with encouragement for continued practice and exploration of art, emphasizing that drawing is a skill that can continually improve with dedication and understanding of the right-brain techniques Edwards presents.

This “plot” is more of an educational and developmental arc, leading the reader from novice to a more competent artist by unlocking the potential of their right brain for drawing.

Character Analysis

Given the unique nature of The New Drawing on the Right Side of the Brain, which focuses on teaching drawing skills through understanding the cognitive processes of the brain rather than storytelling, it doesn’t feature characters in the traditional sense. Instead, the “characters” could be considered the readers themselves, along with the aspects of the brain that play pivotal roles throughout the instructional narrative. Here’s a closer look:

The Reader / Student — Embarks on a journey of self-discovery and skill development. The transformation of the reader, from a beginner to a more skilled artist, is a testament to the effectiveness of Edwards’s methods. The reader’s initial skepticism or belief that they “cannot draw” evolves into a realization of potential and skill through practice and understanding of the brain’s role in drawing.
The Left Hemisphere of the Brain — Often associated with analytical thinking, language, and logic, the left hemisphere represents the barriers to learning to draw for many people. It’s characterized by its tendency to symbolize objects, rushing to label and categorize what it sees rather than observing the actual form and space. This part of the brain’s “personality” is a challenge to overcome in the pursuit of artistic skill.
The Right Hemisphere of the Brain — Associated with creativity, spatial perception, and non-verbal thought, the right hemisphere is the “hero” of Edwards’s book. Its ability to perceive shapes, spaces, and relationships as they truly are, without the interference of language, makes it essential to learning to draw accurately. The book champions awakening and engaging this part of the brain to see the world—and subsequently draw it—from a new perspective.

Character Analysis Summary

Character	Personality / Role	Motivation	Development
The Reader / Student	Curious, eager to learn, possibly skeptical	To learn to draw or improve drawing skills	Transforms from novice to skilled artist, overcoming mental blocks and learning to see the world differently
The Left Hemisphere	Analytical, logical, verbal	Prefers categorization and simplification over true representation	The reader learns to quiet this side of the brain to improve drawing skills
The Right Hemisphere	Creative, perceptual, non-verbal	Seeks to see and interpret the world accurately	Through exercises, the reader learns to engage this side more effectively for drawing

This analysis highlights the journey of the reader facilitated by the dynamic interplay between the cognitive functions of the left and right hemispheres of the brain, underscoring the transformative learning process that Betty Edwards guides her readers through.

Themes and Symbols

While The New Drawing on the Right Side of the Brain by Betty Edwards is primarily an instructional text rather than a narrative story, it’s rich with themes and symbols related to the art of drawing, the process of learning, and the exploration of human cognition. Let’s delve into some of these themes and their significance:

Perception vs. Reality — This theme is at the heart of Edwards’s teaching. The distinction between how we perceive objects and how they actually exist in reality is crucial for learning to draw. The book challenges readers to see beyond their preconceived notions and symbols, encouraging a deeper engagement with the visual world.
Left Brain vs. Right Brain Dynamics — The dichotomy between the analytical, verbal left hemisphere and the intuitive, visual right hemisphere symbolizes the internal conflict many face when learning to draw. This theme extends beyond art, touching on broader questions of how we think, learn, and perceive the world.
The Journey of Learning — Learning to draw is depicted as a journey, complete with obstacles, discoveries, and moments of triumph. This theme reflects the broader human experience of acquiring new skills and the transformative power of education.
Overcoming Mental Blocks — The mental blocks and self-imposed limitations that prevent people from achieving their full potential in drawing serve as a symbol for other barriers in life, whether emotional, psychological, or intellectual. Edwards offers strategies to overcome these blocks, symbolizing the overcoming of personal limitations more broadly.
Transformation and Growth — The development of drawing skills represents personal growth and transformation. As readers progress through the exercises, they not only improve their ability to draw but also change the way they see the world, symbolizing a deeper, more generalizable form of personal evolution.

These themes and symbols contribute to the book’s overarching message that drawing is not just a skill but a way of seeing and interpreting the world, offering insights that extend far beyond the canvas.

Writing Style and Tone

Betty Edwards’s approach in The New Drawing on the Right Side of the Brain is characterized by a writing style and tone that are both educational and accessible, making the art of drawing approachable to a wide audience. Here’s a breakdown of key aspects of her style and tone:

Educational yet Engaging — Edwards masterfully balances the depth of her knowledge on cognitive psychology and art education with an engaging narrative style. This ensures that readers are not only informed but are also motivated to follow through with the exercises.
Clear and Methodical — The structure of the book is logical and methodical, with each chapter building on the concepts introduced in the previous ones. This clarity helps readers understand the progression of skills and concepts necessary for mastering drawing.
Supportive and Encouraging — Throughout the book, Edwards adopts a supportive tone that encourages readers, especially beginners who might be doubting their abilities. Her reassurances and success stories from past students serve to motivate and inspire.
Descriptive and Visual — Given the subject matter, Edwards’s style is notably descriptive, with vivid explanations of visual concepts. This is complemented by numerous illustrations and examples that visually demonstrate the points being made.
Reflective and Insightful — Edwards often prompts readers to reflect on their learning process and the mental shifts occurring as they engage with the exercises. This reflective quality adds depth to the instructional content, encouraging a deeper understanding of the art and science of drawing.

These elements of style and tone are integral to the book’s success, making complex concepts in art and cognitive science accessible and engaging for readers of all levels.

Literary Devices Used in The New Drawing on the Right Side of the Brain

Betty Edwards’s The New Drawing on the Right Side of the Brain leverages various literary devices to enhance the instructional content, making complex ideas more understandable and engaging. Here are the top 10 literary devices used in the book, each serving to enrich the reader’s learning experience:

Analogy — Edwards frequently uses analogies to compare the process of learning to draw with more familiar activities or concepts. This helps readers grasp abstract ideas related to perception and cognitive function.
Imagery — Vivid descriptions of visual phenomena and drawing exercises stimulate the reader’s imagination, making the text more engaging and the instructions clearer.
Metaphor — The book often employs metaphors, such as referring to the right brain as the “artist’s brain,” to simplify complex neurological concepts and make them more relatable.
Personification — Edwards personifies elements of the drawing process, such as the struggle between the left and right hemispheres of the brain, giving them character-like qualities. This makes the cognitive processes involved in drawing more accessible.
Repetition — Key concepts and techniques are reiterated throughout the book, reinforcing the learning objectives and ensuring that readers internalize the most important lessons.
Juxtaposition — Placing the analytical, symbol-driven approach of the left brain next to the perceptual, visual approach of the right brain highlights the contrast between these two modes of thinking, emphasizing the book’s core teachings.
Direct Address — Edwards often speaks directly to the reader, creating a conversational tone that makes the book feel more personal and the advice more direct.
Anecdote — Sharing anecdotes from her teaching experience and the experiences of her students, Edwards illustrates the common challenges and breakthroughs in learning to draw, making the material more relatable.
Exemplification — Specific drawing exercises and examples are used to illustrate broader concepts, helping readers understand how to apply the book’s lessons in practical terms.
Contrast — By contrasting before and after drawings from her students, Edwards effectively demonstrates the dramatic improvements that can be achieved through her methods, motivating readers to engage with the exercises.

These literary devices collectively enhance the instructional narrative, making The New Drawing on the Right Side of the Brain not only an effective guide to drawing but also an engaging read.

Literary Devices Examples

Let’s delve into examples and explanations for each of the top 10 literary devices used in The New Drawing on the Right Side of the Brain by Betty Edwards. These examples highlight how Edwards skillfully incorporates these devices to enhance her instructional narrative.

Analogy

Examples

Drawing to Riding a Bicycle — Edwards compares learning to draw with learning to ride a bicycle, illustrating how both skills become automatic with practice.
Left Brain and Right Brain to Digital and Analog Watches — This analogy helps readers understand the different functions and modes of operation of the brain’s hemispheres.
Perception of Edges to Falling Shadows — Edwards uses this analogy to explain the concept of edge perception in drawing, making it easier for readers to grasp.

Imagery

Examples

Describing the Drape of a Cloth — Edwards uses detailed visual descriptions to help readers visualize how to capture the folds and shadows in a drawing.
The Vase/Faces Exercise — Vivid imagery is used to describe this classic perception exercise, helping readers envision the dual images.
Shadow and Light on a Sphere — The detailed description of how light falls on a sphere enhances the reader’s ability to visualize and draw it.

Metaphor

Examples

The Brain as a Battleground — This metaphor illustrates the conflict between the analytical left brain and the intuitive right brain in the process of learning to draw.
Eyes as Cameras — Edwards uses this metaphor to explain how we should try to perceive scenes as a camera does, unbiased and true to reality.
Pencil as a Sword — This metaphor is used to convey the power of the pencil in the artist’s hand, emphasizing the assertiveness needed in drawing.

Personification

Examples

The Left Brain’s Critic — Personifying the left brain as a critic that judges and doubts, Edwards illustrates the internal dialogue that can hinder drawing progress.
The Right Brain’s Silence — The right brain is personified as a silent partner, focusing on perception without verbal interference.
The Line’s Dance — Lines in a drawing are described as if dancing, highlighting the fluidity and dynamism required in capturing forms.

Repetition

Examples

“See the edges, not the object” — This phrase is repeated to emphasize the importance of focusing on shapes and contours rather than the object’s identity.
Practice, Practice, Practice — The repetition of the word “practice” underscores the necessity of regular drawing to improve.
The Five Basic Skills — The repetition of the five basic skills of drawing throughout the book reinforces their importance in learning to draw effectively.

Each of these literary devices plays a vital role in conveying Edwards’s instructional content in an engaging, memorable, and effective way, ensuring that readers not only understand but also apply the lessons in their journey to becoming skilled artists.

The New Drawing on the Right Side of the Brain – FAQs

Q: Who is The New Drawing on the Right Side of the Brain for?
A: This book is for anyone interested in learning to draw or improving their drawing skills, regardless of their current level. It’s particularly beneficial for beginners who believe they have no talent for drawing, as well as more experienced artists looking to explore new perspectives and techniques.

Q: Do I need any prior drawing experience to start this book?
A: No, you do not need any prior drawing experience. The book is designed to guide beginners through the fundamentals of drawing, while also offering insights that can benefit more experienced artists.

Q: What makes The New Drawing on the Right Side of the Brain different from other drawing books?
A: This book focuses on unlocking the potential of the right side of the brain, emphasizing perception and visual thinking. It combines insights from cognitive psychology with practical drawing exercises, making it a unique blend of theory and practice.

Q: Can I really learn to draw just by reading a book?
A: While reading the book provides essential theoretical knowledge, the real learning comes from doing the exercises. The book is structured to guide you through practical drawing exercises that build your skills step by step.

Q: How much time should I dedicate to practice drawing each day?
A: The amount of time can vary depending on your schedule, but dedicating at least 30 minutes to an hour daily to practice the exercises in the book can lead to significant improvements over time.

Q: What materials do I need to get started with the exercises in the book?
A: Basic drawing materials like pencils, erasers, drawing paper, and a sketchbook are enough to get started. Specific exercises may require additional materials, which are listed at the beginning of each exercise.

Q: Is it normal to feel frustrated when starting to learn to draw?
A: Yes, it’s completely normal to experience frustration, especially when your drawing skills are being challenged and developed. The book offers strategies to overcome these feelings and encourages persistence and practice.

Q: How can I keep myself motivated to continue drawing?
A: Setting small, achievable goals, regularly reviewing your progress, and reminding yourself of the reasons you started drawing can help maintain motivation. Additionally, joining a community of fellow learners can provide support and inspiration.

Quiz

Question	A	B	C	D	Correct Answer
What is the primary focus of The New Drawing on the Right Side of the Brain?	Developing technical drawing skills	Understanding the cognitive aspects of drawing	Learning to paint with watercolors	Mastering digital art techniques	B
Which part of the brain does the book emphasize for learning to draw?	The left hemisphere	The right hemisphere	The cerebellum	The frontal lobe	B
What is one of the basic skills of drawing according to the book?	The perception of texture	The perception of color	The perception of edges	The perception of digital interfaces	C
Betty Edwards compares learning to draw with learning to:	Drive a car	Ride a bicycle	Play a musical instrument	Swim	B
What kind of exercises does the book include?	Cardio exercises	Mathematical problems	Practical drawing exercises	Vocal training exercises	C
What does the book suggest is a common barrier to learning to draw?	Lack of natural talent	Age	Mental blocks and misconceptions	Physical disabilities	C
According to the book, what is crucial for drawing accurately?	High-quality art materials	A degree in fine arts	Seeing things as they actually are, not as we know them	Constant critique from others	C
How does Betty Edwards suggest readers overcome challenges in drawing?	By focusing solely on the left hemisphere’s functions	By engaging the right hemisphere through specific exercises	By giving up after the first sign of difficulty	By only drawing what is simple and familiar	B
What is a metaphor used in the book to describe the pencil?	A sword	A wand	A key	A shield	A
What does the book emphasize as necessary for improving drawing skills?	Purchasing expensive art supplies	Practicing regularly	Having a natural talent	Being under 30 years old	B

This quiz is designed to test comprehension of The New Drawing on the Right Side of the Brain by Betty Edwards, covering its key concepts, themes, and recommendations for developing drawing skills.

Exercise

Spot the Literary Device

Read the following paragraph from The New Drawing on the Right Side of the Brain and identify the literary devices used.

“In the world of drawing, the pencil acts not just as a simple tool but as an extension of the artist’s body, a conduit through which creativity flows from mind to paper. Just as a skilled dancer moves with grace and precision, the artist’s hand, guided by a sharpened pencil, dances across the page, capturing the essence of the subject with each stroke. This dance of creation is not just about reproducing what one sees but about connecting deeply with the subject, seeing beyond the surface to the true nature that lies beneath.”

Answers

Metaphor: The pencil is described as “an extension of the artist’s body” and “a conduit through which creativity flows,” metaphorically elevating its role in the drawing process.
Personification: The artist’s hand is said to “dance across the page,” giving the action a lively, human quality.
Simile: Comparing the artist’s hand movement to “a skilled dancer moves with grace and precision” uses a simile to draw a vivid comparison.
Imagery: The entire paragraph is rich with imagery, painting a vivid picture of the drawing process and its intimate connection to the artist’s creative expression.

This exercise is designed to help students recognize and understand the use of various literary devices in descriptive writing, enhancing their ability to appreciate the richness and depth of text.