- Paperback: 320 pages
- Publisher: TarcherPerigee; 4 edition (April 26, 2012)
- Language: English
- ISBN-10: 1585429201
- ISBN-13: 978-1585429202
- Product Dimensions: 7.4 x 0.8 x 9 inches
- Shipping Weight: 1.4 pounds (View shipping rates and policies)
- Average Customer Review: 4.7 out of 5 stars See all reviews (901 customer reviews)
- Amazon Best Sellers Rank: #2,232 in Books (See Top 100 in Books)
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.
To get the free app, enter your mobile phone number.
Other Sellers on Amazon
+ $3.99 shipping
+ $3.99 shipping
+ $3.99 shipping
Drawing on the Right Side of the Brain: The Definitive, 4th Edition Paperback – April 26, 2012
Top 20 lists in Books
View the top 20 best sellers of all time, the most reviewed books of all time and some of our editors' favorite picks. Learn more
Frequently bought together
Customers who bought this item also bought
2013 Nautilus Books for a Better World Silver winner as Best Creative Process Book
About the Author
Betty Edwards speaks regularly at universities, art schools, and companies. Now retired from her position as professor emeritus of art at California State University in Long Beach, Edwards received her doctorate from UCLA in art, education, and the psychology of perception. Dr. Edwards has been profiled on the Today show and in Time, among other magazines and newspapers. She lives in California.
Browse award-winning titles. See more
If you are a seller for this product, would you like to suggest updates through seller support?
Top customer reviews
Today the newest edition arrived. It might be a masterpiece in it's genre, but I'll never know. The type face is so small I, literally, cannot read the side bars, and reading the body text is not much better. The amount of ink used for the impressions is minimal and adds to the difficulties. A book does no good if half of it cannot be read and the other half is difficult to read due to typeface or any other physical limits. A direct comparison of font size between the two books makes it very apparent it isn't just a grumpy whiny old man's grump of the day.
Publisher should be ashamed. If I can read the last edition with no problems I think I should be permitted to read the latest edition just as easily.
The very good:
Excellent book for beginners, it will coach you to draw what you see, not what you think.
Absolute must if you are interested in the dichotomy between left and right brain hemispheres and how they interact. The introduction captivated me, and further exercises are great experiments to experience the switching of processing between the two halves of your brain first hand. I knew about it but I didn't think it could be made so obvious.
The only good:
The author describes five skills that together compose drawing skills:
- Perception of edges
- Perception of spaces
- Perception of relationships
- Perception of lights and shadows
- Perception of gestalt
The first four could be reduced to three in my view but I am willing to accept the four. If the first four were properly rendered, the fifth would derive naturally. Once a face is out of proportions, the correction of resemblance will require correcting the rendering of the first four. "Gestalt" here is not a skill, it is an effect.
The not good:
Very little that I find unacceptable, really. Mostly in the explanation of perspective.
The explanation of point of view is perfect except it starts by "In a one point perspective drawing...".
No. Every realistic drawing (the point of this book) has one point of view and only one, however many vanishing points there are. Yet this statement is still accurate, it just suggests that the definition does not apply to multiple points drawings. I was willing to overlook that one.
Then on page 151 a drawing purporting to explain two points perspective using two cubes commits the sin the author has been warning us against since the beginning of the book: she draws what she thinks and not how it is. The drawing represents two cubes and two vanishing points for each - so far so good assuming that the cubes do not have parallel faces. The problem is that the two vanishing points of the farther cube are between the two vanishing points of the closer cube, which is not possible if these are indeed cubes as stated in the caption. If the cubes have parallel faces then their vanishing points are common; if not, they alternate on the horizon as both faces of the second cube turn in the same direction with regards to the first cube.
(I attach a picture of the book and one of a quick drawing on my whiteboard - I don't pretend my drawing is perfect but it illustrates my qualms.)
I can hear people calling me picky on this one and I certainly feel that way.
One full star off just for that?
Well, I am following an art class and some of my fellow students have a very hard time getting over this one.
To compound the confusion, the drawing frame in the book picture shows another horizontal line without explanation, leading some to infer this is the "actual" horizon.
(For the records I studied Math and then mechanical engineering before CAD systems were ubiquitous, which meant designing mechanical parts on paper with compass, tees and rulers, and I have been drawing for well over 40 years. I took this drawing class to qualify for painting next year.)
Finally the author does not mention that vanishing points do not have to be on the horizon, as if all groups of parallel lines in the 3D world had to be either horizontal (vanishing points on the horizon) or vertical (represented as parallel lines in most usual drawings). Three points perspective is barely mentioned about tall buildings drawn from street level and to state it is very rare in drawing.
All in all this remains an *EXCELLENT BOOK*, clearly the best I have seen about teaching realistic drawing so far.
- People who want to learn to draw realistically
- People interested in the brain processes involved in drawing and in particular the processing differences of the two brain hemispheres.
The only caveat is about perspective.
I'm a programmer and IT guy. I use the "logical part of my brain", a lot. It keeps me fed, clothed, and housed. The presentation in this book is done in such a way that it makes sense to me. There's no hands-in-the-air "just practice a lot and you'll get better". It's explained what skills you need to develop in order to get better and what skills experts have, what makes them better artists.
I appreciate any book on drawing and art that's not so abstract as to drive you to worship of some intangible dietyhood of a True Artist without actually showing you how to get there, probably nourishing a life of falling short of your goals. At the same time, it acknowledges the fact that there is something intangible to the art itself. There's a personal touch. But it doesn't ride that horse off to fantasy-land, dragging the reader in to a hopeless, useless abstraction. To me, that leaves it as a book with a lot of value capable of actually teaching an interested student.