Could this reliance on the right right-sided circuits, provide an hemisphere, ‘novice’ explanation as to why is it, that for some trained artists the complex motor actions required when drawing from observation, do not become automated motor routines? In addition, these right-sided circuits are the very ones we use when we engage with wholist or big-picture thinking, as opposed to focusing on the fine details where the expert left-sided circuits take over. Wholist thinkers In a BBC Radio 4 interview John Stein observed that; D drawing requires the “Two ability to go from A to B to C, linear thinking whereas in fact they, [dyslexics] have seen the 3D structure in its entirety and very difficult then for them to go It’s into this linear way off putting it down on He went on to say; dyslexic paper”. “The brain operate in a linear boring fashion, it tends to be holistic, it sees the doesn’t whole picture so that means many creatives are dyslexic because they can see the whole (Ledgard, 2015,). picture.” Ocean described his thinking whilst drawing the next rhomboid is the side face; “That of the nose-or it is an abstract shape. Each bit of the picture has to be able to exist in its own 2001, p 38.) right.” (Tchalenko, The role of procedural memory has been highlighted in Aaron Kozbelt and William paper, Integrating art historical, psychological and neuroscientific Seeley’s explanations of artists' advantage in drawing and perception, in which they suggest that procedural knowledge impacts upon incoming visual information, helping the artist to effectively deconstruct visual scenes.(Kozbelt and Seeley, 2007,p.80-90). Mortimore (2008, p. 118) observes: to help wholists will “strategies frames to support the oral or written expression of include…scaffolding information.” An art tutor at a secondary school similarly remarked; have found asking students “I to methodically look at what they have been asked to draw and break their subject matter down into simple shapes has been a helpful strategy.”
Could this reliance on the right hemisphere, ‘novice’ right-sided circuits, provide an explanation as to why is it, that for some trained artists the complex motor actions required when drawing from observation, do not become automated motor routines? In addition, these right-sided circuits are the very ones we use when we engage with wholist or big-picture thinking, as opposed to focusing on the fine details where the expert left-sided circuits take over. Wholist thinkers In a BBC Radio 4 interview John Stein observed that; “Two D drawing requires the ability to go from A to B to C, linear thinking whereas in fact they, [dyslexics] have seen the 3D structure in its entirety and It’s very difficult then for them to go into this linear way off putting it down on paper”. He went on to say; “The dyslexic brain doesn’t operate in a linear boring fashion, it tends to be holistic, it sees the whole picture so that means many creatives are dyslexic because they can see the whole picture.” (Ledgard, 2015,). Ocean described his thinking whilst drawing the face; “That next rhomboid is the side of the nose-or it is an abstract shape. Each bit of the picture has to be able to exist in its own right.” (Tchalenko, 2001, p 38.) The role of procedural memory has been highlighted in Aaron Kozbelt and William Seeley’s paper, Integrating art historical, psychological and neuroscientific explanations of artists' advantage in drawing and perception, in which they suggest that procedural knowledge impacts upon incoming visual information, helping the artist to effectively deconstruct visual scenes.(Kozbelt and Seeley, 2007,p.80-90). Mortimore (2008, p. 118) observes: “strategies to help wholists will include…scaffolding frames to support the oral or written expression of information.” An art tutor at a secondary school similarly remarked; “I have found asking students to methodically look at what they have been asked to draw and break their subject matter down into simple shapes has been a helpful strategy.”