By Doreen Bolger, Mary Wayne Fritzsche, Jacqueline Hazzi

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Extra info for American Pastels in the Metropolitan Museum of Art

Sample text

The following exercises are designed to show you, first, the frustration of trying to draw while your mind is seeing with the “logical left,” and second, the surprising difference that seeing with the “relational right” will make in your drawing. Right-Left-Right: Your Brain Learns to Follow Orders Even in the early exercises, you may notice a change in your state of consciousness—a relaxed, focused peace—though you’re trying something very new. Time will pass quickly while you’re working, and the rest of the world may fade into the background.

Harvey Weiss Now that you’ve practiced switching from your left brain to your right, it’s time to warm up your relational right for the exercises that follow in the rest of the book. Learning to draw is like any other skill; it’s about practice, practice, practice—but it’s a fun kind of practice. To begin your practice, get out your paper and pencils, as well as your artist’s board. In this chapter, we’re going to doodle the night (or day) away, and bid Old Lefty farewell. Now You See It Remember when you were learning to write and the long practice sessions you put in before you mastered that skill?

Did you settle for a profile that was different? That would be letting the left side stay in charge of the profile, but the vase would end up asymmetrical. Did you ignore the names for the parts and concentrate on the shapes? Did you concentrate on the vase and try to make the line symmetrical with the first side? Did you measure or mark the curves or relationships between the curves? Did you start in the middle or at the bottom and work backwards? Any of these solutions would have been right-brain approaches to the problem, paying attention to the visual and not what you thought you knew.

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