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February 2009 | Dental Lab Products
Can esthetics be learned?
One of Webster’s definitions of the word “artist” is: A person who develops a superior skill; a skill you can learn by study, practice, and observation. By definition, then, if we study, practice, and observe, we would fit into the Webster’s definition of an artist or artisan.
Most people visualize an object in a single dimension. Those who are more detailed can visualize that same image in two dimensions. For true artisans, that 2D image can be translated into a lifelike three-dimensional form. Artisans who express their artistry on canvas, for example, must view an object in its true three-dimensional form and transform the 3D image into a two-dimensional rendering. Dental technicians, on the other hand, must train their brains to view a two-dimensional image and render it in three dimensions. This ability can be learned and, like any learned process, mastering the ability to see the difference is always the first step. This became clear many years ago while working with a good friend, and fellow technician, who is an amazingly talented ceramist. I drew a picture of an object that related to a question I was asking him. The drawing, at best, was of 4th grade level even though I spent several minutes on the detail. My friend, then, proceeded to draw the same object. In those 30 seconds, watching him render the same object, I realized why his ceramic artistry was so much better than mine. His natural artistic ability was levels ahead of mine, and he was able to see objects, and reproduce those objects both on paper and in ceramics. So, can I learn to be a better ceramic artist? Can I learn to be even more artistic and to better see, visualize, and transfer two-dimensional information into the third dimension and vice versa? I believe we can! But improving any skill requires study, practice, and observation. An understanding of art may not be high on your “to do” list, but the concept will help improve your esthetic view and artistry.
A few years ago, I read a book titled, Drawing on the Right Side of the Brain by Betty Edwards, PhD. She references the use of two sides of the brain—right hemisphere and left hemisphere. In most of us, the left side of the brain is dominant. It thinks in step-by-step sequences, using words, numbers, and other symbols to express an idea or concept. L-mode thinking develops at a young age, and the images stored in L-mode are not always correct, such as our preconceived image of what an upper first molar should look like. The L-mode fights the R-mode to translate and transfer these preconceived concepts into our everyday lives. The right side of the brain, or R-mode, is the more creative side and knows no real boundaries. It is open to new ideas and tends to be known as the “creative” side. For example, when asked to draw a picture of a tree, the R-mode is open to the new challenge, but the dominant L-mode immediately draws on its preconceived image of a tree and imposes a time frame to complete this task. L-mode thinking is prevalent in technicians when they come into my lab and, when tasked with waxing or building up a tooth, ask: “How long should I take?” This is a typical L-mode response. To improve or strengthen the R-mode, Dr. Edwards’ book goes through five key steps that help promote free-thinking and the ability to step out of this predetermined logic. She calls this skill, “the global skill of drawing.” For dentists and technicians, the goal should be to use these skills to help develop our skill level or the artistry of our work. The five “global skills” are: 1. The perception of edges. 2. The perception of spaces. 3. The perception of relationships. 4. The perception of light and shadow. 5. The perception of the whole, or “The Gestalt.” Each skill can be learned. A great place to start is www.Drawright.com, and practicing the skills presented there. Then, read the book. I recently took a 5-day intensive program with Dr. Edwards’ son, Brian Bomeisler, in New York. It was truly amazing to go through this process. Over the course of a few days, everything seemed to be popping out at me, as I perceived objects as edges, spaces, relationships, and shadows, not as my L-mode preconception. One of the main protocols in this process is to reference part of the object as a basic unit, or as a basic shape, and not as the whole. You then use this basic shape to check and compare against other proportions in your drawing. I realized this process is very similar to that used in our ceramic layering because we use a basic unit such as the adjacent tooth or a relationship such as the contacts or matrix. Learning these global skills will open up a three-dimensional world and will help you fight the easy preconceived images you have stored in your mind. Let the right side of your brain bring out your true artistic senses.
Drawing on the Right Side of the Brain was first published in 1979 and has been on the New York Times best-seller list with more than 2.5 million copies sold. It has been translated into 13 languages and is the world’s most widely used drawing instruction book. Dr. Edward’s new book, Color—A Course in Mastering the Art of Mixing Colors, was published in 2004 and is already used as a comprehensive reference. Both are available at www.amazon.com.
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