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Description
The significance of this work is of course young girl in a provocative pose. We draw what we like. Simple. But in this drawing as shown in the notes, it is drawn from the original photo and copied upside down. If one has never tried this it is the true battle of left brain/ right brain. I used to agonize over detailed draperies and folds in clothing and wonder how they handled all this detail in the Renaissance for instance. Then I came to find that it was only one hemisphere that dreaded it. The other hemisphere, the one that loves drawing, eats this up, and can draw for hours.

The problem is that that verbal hemisphere wants to assign symbols to drawing when the images are right side up. (Oh, that's a button, hurry up, you know what that looks like, get it over with!!! An eye? that looks like a fish right?... hurry, I'm bored, and so on!) Meanwhile the visual hemisphere is content with as many details as possible, knowing now that the other can't or won't be bothered with it. This is a true break from the verbal side of the brain (I mean, shut the hell up!) and drawing is once again for the sake of drawing, and a true pleasure.

So this drawing was a lot of fun to do because I was just following a road map, not trying to make symbols based on years of collecting them in my one-half brain. Now granted when I turn the drawing over I can see where I became impatient and did not follow the map. These are where we make decisions as to what to alter and whether to turn the drawing upside down again to make those changes, or not.

Some of you will recognize this technique from the Betty Edwards' book, "Drawing on the Right Side of the Brain." When you get tired of hearing your left brain and it's comparative criticism and just want to draw for its own sake, throw some Mozart on and try this.

Bueno.

Description
The significance of this work is of course young girl in a provocative pose. We draw what we like. Simple. But in this drawing as shown in the notes, it is drawn from the original photo and copied upside down. If one has never tried this it is the true battle of left brain/ right brain. I used to agonize over detailed draperies and folds in clothing and wonder how they handled all this detail in the Renaissance for instance. Then I came to find that it was only one hemisphere that dreaded it. The other hemisphere, the one that loves drawing, eats this up, and can draw for hours.

The problem is that that verbal hemisphere wants to assign symbols to drawing when the images are right side up. (Oh, that's a button, hurry up, you know what that looks like, get it over with!!! An eye? that looks like a fish right?... hurry, I'm bored, and so on!) Meanwhile the visual hemisphere is content with as many details as possible, knowing now that the other can't or won't be bothered with it. This is a true break from the verbal side of the brain (I mean, shut the hell up!) and drawing is once again for the sake of drawing, and a true pleasure.

So this drawing was a lot of fun to do because I was just following a road map, not trying to make symbols based on years of collecting them in my one-half brain. Now granted when I turn the drawing over I can see where I became impatient and did not follow the map. These are where we make decisions as to what to alter and whether to turn the drawing upside down again to make those changes, or not.

Some of you will recognize this technique from the Betty Edwards' book, "Drawing on the Right Side of the Brain." When you get tired of hearing your left brain and it's comparative criticism and just want to draw for its own sake, throw some Mozart on and try this.

Bueno.