I picked up Drawing on the Right Side of the Brain by Betty Edwards not because I was starting from scratch, but because I kept hearing about it from artists I respect. It popped up in conversations about building stronger observational skills, working through artistic ruts, and learning how to “see” more accurately. Curiosity got the better of me, and I wanted to see if the book could add something meaningful to my existing practice.
In this review, I'm coming at it from the perspective of someone who already draws regularly. I'll share what genuinely helped me, what challenged my assumptions, and where the book feels a bit dated if you've already spent years sketching and studying. If you’re trying to deepen your skills for urban sketching, nature journaling, or just improving your day-to-day drawing habits, there are still some valuable takeaways.
Drawing on the Right Side of the Brain: First Impressions
The first thing that struck me was how structured Drawing on the Right Side of the Brain is. It’s not just loose advice or random drawing tips. It's a guided experience, almost like taking a multi-week class.
Edwards builds her approach around shifting from a left-brain mode of thinking (logical, verbal, analytical) to a right-brain mode (intuitive, visual, perceptual). While some of the brain science is a little outdated, the core idea still made me rethink how often I “default” to drawing symbols instead of studying what's really in front of me.
Even after years of practice, I realized that I sometimes rush my observational stage, filling in details based on memory rather than carefully observing. This book challenged me to slow down and re-learn how to see—a surprisingly humbling and rewarding experience.
Key Points
Here are three strategic ideas from Drawing on the Right Side of the Brain that genuinely shifted my approach:
- Observation over interpretation. Even experienced artists can slip into drawing “what they know” instead of “what they see.” Consciously observing shapes, angles, and proportions—without labeling them—improved my accuracy in ways that surprised me.
- Upside-down drawing. Drawing an upside-down image felt silly at first, but it effectively stripped away my assumptions and forced me to focus on pure form and relationship. It’s now a tool I use when I'm stuck or overthinking a drawing.
- Negative space awareness. I already understood the concept of negative space, but Edwards’ exercises pushed me to use it more aggressively. Treating the spaces between objects as shapes helped me refine my compositions and avoid common proportion errors, especially in nature journaling activities.
What I Appreciated About the Book
Even though I wasn’t new to drawing, I appreciated how thorough the book is. It's not just about quick wins—it's about building a strong perceptual foundation that supports every kind of drawing you might want to do.
Exercises That Stay Relevant
Working through the exercises felt like setting aside ego for a while. Even though I’ve completed sketchbooks full of drawings and spent countless hours drawing nature, Edwards’ lessons helped me recalibrate my focus.
The “pre-instruction” and “post-instruction” self-portraits were especially eye-opening. Seeing the side-by-side comparison, even after years of drawing, made me appreciate how much perceptual training still improves results.
In a way, it reminded me of revisiting nature journaling basics—going back to slowing down, noticing subtle relationships, and treating each mark as an observation rather than an assumption.
Mindset Shifts
There’s a mental component too. As someone who sometimes gets caught in perfectionism or self-criticism, the book’s emphasis on process over product was refreshing. It helped me approach drawing with more curiosity again, like I was learning for the first time.
This mindset shift has carried over into my expressive drawing, encouraging looser lines and more intuitive mark-making.
Things to Be Aware Of
The book isn’t perfect, especially if you’re looking for cutting-edge theories or slick modern aesthetics.
Dated Science
The left brain/right brain framework Edwards relies on has been largely debunked. Modern neuroscience shows that both hemispheres work together more than previously thought. But I didn’t find this detracted much from the exercises themselves. Think of the “right brain” language as metaphorical rather than literal.
Workbook Feel
Parts of the book feel very “school workbook” — rigid, black-and-white diagrams, a kind of clinical tone at times. It’s not flowy, inspirational art writing. It’s functional. If you accept that, it’s incredibly effective.
It Requires Real Effort
You can’t skim Drawing on the Right Side of the Brain and expect results. I set aside 30 minutes to an hour daily for a few weeks, treating it like a personal workshop. Some exercises took real patience, especially the contour drawing sessions where you're not supposed to look at your paper.
I fit them around my usual wildlife sketching sessions and found it a great way to “tune up” before tackling more complex subjects.
Who Should Read This Book?
I think Drawing on the Right Side of the Brain is useful for a wide range of artists, but especially if you:
- Want to reconnect with fundamentals. Even experienced artists can benefit from sharpening their observational skills.
- Feel like your work is getting stiff or formulaic. If you catch yourself drawing from “rules” rather than observation, this book can loosen things up.
- Enjoy structured learning. If you like clear, step-by-step progression, you’ll appreciate how methodical this book is.
- Are involved in nature journaling or urban sketching and want to strengthen your direct observational skills.
If you combine it with daily sketching and explore things like simple daily drawing prompts, the improvements can really compound over time.
Is “Drawing on the Right Side of the Brain” good for experienced artists?
Yes, if you approach it as a way to fine-tune your seeing skills rather than expecting brand-new techniques. I found it sharpened my observational habits and deepened my drawing accuracy.
How long does it take to see improvement?
I started seeing subtle improvements after about 10 days of consistent practice. Clearer proportions, more accurate angles—small things that add up dramatically over time.
Can “Drawing on the Right Side of the Brain” help with nature journaling?
Absolutely. Training yourself to observe shapes, angles, and spaces more accurately is essential for nature journaling. It made my nature journaling examples more precise and confident.
Is the left brain/right brain theory outdated?
Yes—modern science shows that brain functions are more integrated. But the metaphor still works well for teaching artists how to shift into a more perceptual, less verbal way of seeing.
Are there other books like “Drawing on the Right Side of the Brain”?
Definitely—Keys to Drawing is another great one that focuses on observation skills. For nature-focused sketching, The Laws Guide to Nature Drawing and Journaling pairs beautifully with the ideas in Edwards' book.