Art and BRAINS!

Art has been a big part of my life since I was very young. I loved Paul Klee as a child because he drew a big lovely cat with a little tiny bird that I could copy. I loved the Disney cartoons and going to Disney World to see the art being created before my eyes.

Lately I have been practicing my art quite a bit because I will be doing storyboards. This style of drawing is unfamiliar to me. It is like the art in comic books. Much of my art is more freestyle and I have been self-taught for the most part.

From practicing this new style I realized that I am not excellent at perspective, and have been taking classes with Bob Budiansky of Transformer fame, and another comic artist named Daniel Rosa to help me with my weaknesses.

To say the least, these guys are amazing.


Daniel recommended a book to me called Drawing on the Right Side of the Brain. I had my doubts about this book because it seemed like many other art books I had seen...here do these lessons and copy this picture and you will get better at drawing. But this one is different. The lessons, at least in the beginning, are focused on helping the artist to wake up and use the right hemisphere of the brain.

The left side of our brain, once considered the dominant and more important side, is the verbal, analytical, logical and linear side...and can get in the way of the intuitive, holistic and nonverbal right side when drawing.


The book tells us there are ways to shift from left brain thinking to right brain. The first way told us to draw a picture upside-down. To be exact, to look at a picture that is upside-down, and to recreate it starting at the top of the page, which would actually be the bottom of the image. Here is the picture from the book; a drawing by Picasso of Igor Stravinsky:

Here is my drawing turned right-side up:

Another method to induce the shift is to draw with your left hand. I am slightly ambidextrous so I had a bit of an advantage with this one:

The final shift-inducer was to draw a picture of your hand without ever looking at the paper. The urge to peek is almost overwhelming at times...your left brain is trying to straighten things out. Here is my hand drawn on a taped down piece of paper...and I did NOT peek.

These lessons are taught to help us improve our art and to draw with more ease and freedom. Then just when you can feel that shift happening on its own when you draw, you need to in corporate that linear left side back in for perspective.

Looks like I need all the help I can get.

If you do any of the lessons please feel free to post them or send them to me, I'd love to see them!

Unusual Art from the Usual Artists--the Dark Side of van Gogh, Cezanne and DaVinci

Cezanne riveted us with his bright still-life paintings of fruit and lush fabrics and their slightly altered perspective.

Starry, swirling skies, multi-colored blooms and luminous cafes made van Gogh a favorite,

and DaVinci always fascinated us with his machines, forward thinking, perfect dimensions.

 Degas gave us a back-stage look at enigmatic ballerinas,

and Picasso used shapes and shadows to change the art world.

We are used to seeing certain things from certain artists.

We expect to see skinny walking skeletons dressed like Santa from Tim Burton, or dark and morose,  unfortunate children sketched in ink by Edward Gorey, but we do not assume the classic artists to have a dark side. We expect soft, blurry flowers and gardens  from Monet, or achingly perfect depictions of people sitting near a window by Vermeer.

Although we know van Gogh had a dark side by the famous and terrible story of his ear, we do not see his angst in his glorious pictures, unless we look for it. The Philadelphia Museum of Art had a display of many impressionists. I was very ready to feel bright and cheerful and to soak in the glow from the flowers and sunshine shown in the paintings.  I was not ready to see some of the more dark works of some of these same artists.

As I turned a corner I came across and small but stunning painting of skulls by Cezanne. The feel of his work was there, but the subjects opened a new corner in my brain. I was not used to this. This was new, and I was practically shaking.

The slightly upturned table so familiar to Cezanne's works was not covered in a rich fabric and lovely fruits and a bowl. In this painting it had death upon it.

Van Gogh has the ability to make you want to be part of his paintings. His cafe glows, his fields sway, and his flowers remind us of nature's beauty. And his bat shows us of the dark side we so rarely see in his art.

The picture of a skeleton with a cigarette also by van Gogh made a recent appearance as the cover of the David Sedaris's book, When You Are Engulfed in Flames, and also shows a bit of humor.

And two rats also by van Gogh--another surprise.

And here is a deliciously bleak Picasso.

A skull by Degas.

DaVinci was the slight exception. His medical drawings, machines, and inventions could lend themselves to the slightly macabre. Here is an example.

So yes, we have Tim Burton, Edward Gorey and Charles Addams--but we also have the web. We can find the dark and mysterious paintings and pictures from impressionists, post-impressionists, modernists and any famous artists that only the curators and collectors previously had access to.

And I am thrilled.