Another exercise with ‘Drawing on the Righ Side of the Brain’. By drawing the space, not the chair, the proportions were incredibly accurate in all drawings. The drawings can be read as Nolli Maps of imaginary cities, we can see piazzas, palazzi…we can see perspective, spatial configurations/plans, abstract paintings… I love the ambivalent water medium, the subtle, duplicitous, always multilayered sepia tone.
From Page 54:
Look at the drawings on the right-hand side of Figure 4-11. Studens 1 and 2 copied Picasso’s drawing right side up. As you can see, their drawings did not improve, and they use the same stereotypic, symbolic forms in their copies of the Picasso Stravinsky as they used in their Draw-a-Person drawings. In the drawings done by Student 2, you can see the confusion caused by the foreshortened chair and Stravinsky crossed legs.
In contrast, the second two students, starting out at about the same level of skill, copied the Picasso upside down, just as you did. The Student 3 and the Student 4 drawings show the results. Surprisingly, the drawings done upside down reflect much greater accuracy of perception and appear to be much more skillfully drawn.
How can we explain this?
The results run counter to common sense. You simply would not expect that a figure observed and drawn upside down could possibly be easier to draw, with superior results, than one viewed and drawn in the normal right-side-up way. The lines, after all, are the same lines. Turning the Picasso drawing upside down doesn’t in any way rearrange the lines or make them easier to draw. And the students did not suddenly acquire “talent”.