If this identification of the situation is correct, then tacit and explicit knowledge are at play.

These exercises are formal in the

sense they can be described in terms of rules and instructions. Perspectives, when treated as orthogonal lines and cubes, also
have a definiteness of space about them. Yet the activities taken within the exercises can elude explication just as actions in the
broader drawing practice. The exercises can also help tease out some more primal and inexplicable qualities of learning. In
hindsight, the exercise cases themselves become subject for reflection, in asking whether these approaches have been fruitful
for addressing my particular obstacles and the possibility of seeing these processes as a contribution to research.

Elsewhere, I have presented a reflection on the long-term process where different drawing and computer tool building activities Figure 1a (above) 1b (below). Examples of free-hand drawings where construct
informed each other. I felt that both building the tools and the formal nature of the computer work stimulated thinking on my elucidated through drawing. (Author 2012)
drawing process and gave directions for the drawing practice. (Heikkinen 2013.) Now that I am aware of such terrain, I have set
the more elaborate computer work and drawing apart. Here there are different types of drawing tasks to reflect on instead, more Click on the images to examine details.

or less formal. To give an example, the projective lines in perspective methods work in a computational way, making the
perspective drawing a different type of drawing than loose sketching. As computer visuals are an important part of my overall
drawing practice, I have shown connections to computer work where appropriate.

In my present project, I try to take hold of drawing form and space with less concern for the practicalities of depicting for a
particular professional practice. I continue my drawing research with the idea that stimulating reflection can be invoked through
devising and executing drawing exercises. I concentrate on what I interpret as the tangential nature of the exercise activities in
relation to the desired skill. As drawing exercises can be auxiliary acts in relation to the drawing skill, this presents a case for
drawing as a thoughtful activity that can be largely instrumented through drawing itself. As I will discuss below, books on
drawing are neither recipe-books or universal guides for how to draw. This becomes grounds for seeing the activities pertaining
to the advancement of the drawing skill as a form of contribution to artistic research.