A drawing is not expected to be complete or to be the definitive word on any subject. Its charm is its spontaneity, its freedom, its surprise. For many artists drawing is a way of exploring life. Edward Hill, professor of art at the University of Houston, declared, “The object of all drawing is to intensify experience.” Indeed many artists rely on their drawing to shape experience. Ten years ago, Eleanor Dickenson found that her mother, bedridden through long illness, had died. The first thing she did was cry. The second thing she did was take out a sketch pad and draw her mother's lifeless face. “I experience things by drawing them,” she says.
Drawing is a way of seeing. One test of whether you really understand something is whether you can put it into words in such a way as to teach it to someone else. Another test is whether you can draw it. A drawing is a picture of your understanding. Matisse declared that “to draw is to make an idea precise. Drawing is the precision of thought.” As most understandings are flawed, most drawings are flawed. One draws chiefly to advance one’s understanding.
Because it's aims are gradual and cumulative, drawing is a discipline, an organizing and training and honing of the imagination so that one may be ready to work spontaneously whenever called upon. It is a discipline that requires constant exercise.
(Excerpt from pg 22-23 of The Undressed Art: Why We Draw by Peter Steinhart)



















