To disrupt habitual tendencies in my observational drawing practice, I employed a methodology of using my non-dominant hand (my left hand, as I am right-handed). This disorienting approach introduced intentional distortion and slowed down the drawing process, fostering heightened attentiveness to both observation and representation. By resisting the inclination to create realistic imagery, this method invited a raw and unrefined quality to the work, emphasizing the process over the outcome. The deliberate challenge of working with my non-dominant hand revealed new ways of perceiving and engaging with my subjects, ultimately enriching my understanding of the relationship between observation, motor control, and artistic expression.