A child draws from the heart, mind and soul. It is a method of play they use to experience and coordinate basic skills. Their drawing can be anything from a scribble, a
primitive image or a creative marvel. It becomes an extension of what they are about. In this sense anyone can draw. Unlike many other methods, drawing is natural and
directly tide to the human psyche, the mysteries of life and the complexities of the universe. It is a way to create images societies embrace as an acceptable manner to
render an image. Drawing is in every culture, time and place.Drawing is an activity somewhere between a feeling, a sense of touch, a firm definition
of boundary and formulation of what the eye digests and the mind directs. It encompasses both a analytical and intuitive process requiring coordination of a
centered mind. In doing so, the drawer connects with their emotions and drawing relationships in all things, joy of life, desire of another human, sadness, death, beauty,
harmony, rhythm, and the visual extant of things. James Mapes in his book Quantum Leap thinking wrote, the creative side of our
nature includes intuition, ideas, dreams, fantasy and invention. Without the creative side of your brain, intelligence is a rather useless tool. Your creative side is elusive and
delicate. Fear and negativity can send the creative self into hiding. The creative mine needs constant nurturing. There is a tremendous payoff to paying attention to the
creative side of your being, because only by using your imagination can you shift paradigms and bring forth the invisible. Drawing is a direct method to the mind. When comparing drawing to sports, athletes improve skills by constantly practicing and
relying on the intuitive parts of the brain at critical moments. Drawing also evolve complex skills and intuition in seeing, coordination and thinking. Drawing is a highly
coordinated skill that is at the center of mental and physical health.
What is Intuition? It is the feeling of acceptance-balance of influences, time and materials. In the book The Gospel According to Zen, D.T. Suzuk writes, The life
of Zen begins with the opening of Satori. Satori may be defined as intuitive looking into, in contradiction to intellectual and logical understanding. Whatever the definition,
Satori means unfolding of a new world hitherto unperceived. How do we see the unseen? Vijar P Sharna PH.D wrote, As we look for evidence
to support our assumptions, we also tend to ignore evidence that contradicts them. This in psychology literature is referred to as the law of cognition dissonance.
Discoveries, inventions and creative ideas are only possible by over-riding familiar views and perspectives. We need to learn to see what we are missing. It is our assumptions that keep us from
making new pathways and seeing what was missed before. By understanding how you view the world you can change processes in which to unveil the hidden. You are able
to see patterns and balance shapes according to a natural order. Since the Renaissance, drawing has been a compulsory part of a good humanistic
education. Young men and women irrespective of their ultimate vocational choices were taught to render and sketch throughout their lives and kept sketchbooks in which
they recorded their observances. The Grand Tourists of the seventeenth through nineteenth centuries collected and preserved valuable impressions of their travels.
Pedagogical theory through the middle of the twentieth century continued to value the central importance of drawing to training the eye to see and "attend to" reality in ways
that were directly applicable to success in professions as diverse as medicine and science, to commerce, entrepreneurship, and the ministry.
Drawing involves critical perception, a marking tool like a pencil and a support. Chaotic lines can explore a feeling, a short single line is a symbol and an organized web
of lines can make up a special perspective or image. Drawing represents the human experience in unlimited ways, levels and qualities. Sometimes a drawing is about the
person being alone and quietly focused on experiencing the drawing process regardless of the outcome. It is a meditative moment in that person's life. Traditionally drawing
was a means to prepare for a painting. Drawings where used to accurately lay out a composition and study subjects that where especially difficult for the artist. Some
artists would create hundreds of drawing in which to visualize an important project. From their final drawings, they would interpolate the necessary information for a
masterful composition onto a painting or sculpture. A drawing may also be a means to make a representational image in which an observer
can appreciate the skill, intelligence and style of the drawer. Once the drawing is allowed to be judged it is assigned psychological meaning and value by whoever sees it.
The observer can be anyone making personal evaluations of the drawing based on their taste, knowledge and experiences. The drawer and the observer's expectation of what
is a good drawing may be two different things and neither one is not necessarily a realistic assessment of the work. For example: A child makes a drawing as a means of
expressing their feelings and the parent judges it according to their experiences, which represents the parent's perspective, not the child. We soon understand that there is a
difference concerning the drawing. The drawer's stage in life is often used as a way to explain the kind of drawing they create. In this sense, we categorize individuals
according to age and experience which is mistakenly based on skill. Often these systems of categorization are unrealistic. A child may make a simple drawing
resembling a gesture or feeling. An experienced master drawer may also make a simple drawing resembling a gesture or feeling. If we judge the two drawings together we may
not see the difference. The master artist may have tried to draw as if a child might make a drawing. The purpose being both are faced with expressing concepts, the
master having to master his skill to draw like a child. It is an action that involves coordination between the eye, hand, mind and material.
The more complex the material the more skills the drawer needs to control the purpose of the drawing. At any age the pencil, pen, crayon and charcoal becomes a tool to
explore the boundaries of our imagination. Our first marks are a means to find out what the material can do. The pencil makes light and dark lines depending on the
pressure, too hard and the lead breaks. A range of hard and soft leads enables the drawer to lay graphite down in overlapping patterns controlling a better outcome. A
crayon on the other hand creates fat creamy lines and marks are seen between patterns of color, too much to quickly fills the paper. The crayon has a creamy purpose, a
staging of texture and feeling that can be built over time and coincide with feelings of innocence. Pen and ink is permanent and difficult to correct once the lines are in
place. Too careful an approach can leave the drawing lifeless. The ink drawer learns to let go, lines are drawn with confidence and grace forgetting the idea mistakes are not allowed.
Tools and materials have unique characteristics and limitations the drawer must learn before they can make a successful drawing. Learning a basic drawing vocabulary takes
time and practice. If the drawer desires to draw a specific way, they must seek out experience in others as well as develop it for themselves. Studying under a master
drawer enables the drawer to learn the tricks of the trade and see examples of how to draw masterfully. Drawing instruction from a master drawer is the best way to learn how to draw.
Drawing instruction enables the student to receive feedback, guidance and evidence that difficult drawings are possible to create. Not all artists are good instructors so
finding the instructor that is best for you is important. Understanding where you are in your drawing and what to do next is challenging. Your expectations should begin with
learning the basics first and practicing how to see before you can expect the execution of a masterful drawing. Your drawing abilities will take time and dedication. Be careful
not to criticize your work too harshly in the beginning. If a naive drawer evaluates their artwork, it is a judgment based on questionable experience. The result can be
counter-productive. Learning to see your own work is part of the learning experience. The motivation to practice and study drawing hours on end without expecting praise is
an important attitude. The beginner can expect to make many bad drawings before the good ones start to appear. The process of learning to draw is a test in perseverance as
much as it is a test in learning difficult skills. Learning to draw well is a reasonable goal as long as the student is willing to make mistakes and take chances. If the drawer
learns all there is know about drawing eventually the drawer will make good drawings. Basic Drawing Principles: Drawing is the beginning to seeing all the relationships
involved with making a good drawing. Sometimes it is a matter of dissecting the parts in which to see the hole and other times it is a matter of revealing all the parts in which
to see the connections. In either case, a basic drawing begins with simple shapes and simple drawings that help us see those basic but important parts that are sometimes
hidden. Why are they hidden? We don't see things visually. We must learn to see and think visually. To see visually means we must switch our thinking to the visual side of
the brain. Next the student must learn to evaluate their own drawing and not mistake their present psychological state of evaluation method as correct. And finally basic
drawing is a beginning for the student to step off on the right foot and create interesting drawings that that themselves can be proud of. Drawings that have
meaning and meet the students goals will create building blocks for future drawings and other creative endeavors. 
Some areas students study when drawing.
1. Materials 2. Line qualities 3. Simple shape method 4. Line and contour drawing 5. Drawing values and the field value
6. Gesture 7. Weight and shadows 8. Memory drawing 9. Moving action drawing 10. Drawing from photographs 11. Drawing from imagination
12. Drawing from life
Drawing Mediums: Areas of study
1. Crayon 2. Graphite 3. Charcoal 4. Pastel 5. Oil pastel 6. Ink 7. Color pencil
8. Watercolor 9. Acrylic paint 10. Oil paint.
Classical Drawing:
1. Form 2. Balance and beauty 3. Composition 4. Light and darks 5. Proportion 6. Three dimensional drawing
7. Plotting 8. Study drawing 9. Textures, hair, metal, skin, scales, cloth, plant materials 10. Perspective
11. Models and props: photographs, still-life, architecture, life. 12. Anatomy and the figure 13. Folds and drapery 14. Landscape
15. The dynamic composition
Advanced Drawing:
1. Concept 2. Art in history concepts 3. Formulating processes 4. Patterns 5. Abstract thinking 6. Object Drawing 7. New avenues 8. Creative thinking, problem solving and paradigms 9. Thesis
Focused Drawing Styles:
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