Editing Drawing (section)

==Process==
[[File:Munich - Two young women drawing - 5814.jpg|thumb|A young woman drawing the [[Barberini Faun]] in [[Munich]]]]Individuals display differences in their ability to produce visually accurate drawings,<ref>{{cite web|last=Ostrofsky|first=J|title=A Multi-Stage Attention Hypothesis of Drawing Ability|url=http://ttd2011.pressible.org/files/2012/05/Thinking-through-Drawing_Practice-into-Knowledge.pdf|year=2011|access-date=2014-03-11|archive-url=https://web.archive.org/web/20140317224618/http://ttd2011.pressible.org/files/2012/05/Thinking-through-Drawing_Practice-into-Knowledge.pdf|archive-date=2014-03-17|url-status=dead}}</ref> when a visually accurate drawing is "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail."<ref name="Cohen 1997 609–621">{{cite journal|last=Cohen|first=D. J|author2=Bennett, S.|title=Why can't most people draw what they see?|journal=Journal of Experimental Psychology|year=1997|volume=67|issue=6|pages=609–21|doi=10.1037/0096-1523.23.3.609 |pmid=9180037 }}</ref>

Investigative studies have aimed to explain the reasons why some individuals draw better than others.
One study posited four key abilities in the drawing process: motor skills required for mark-making, the drawer's own perception of their drawing, perception of objects being drawn, and the ability to make good representational decisions.<ref name="Cohen 1997 609–621" /> Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.

[[File:Ingres Academic Study (detail) 03.jpg|thumb|upright|left|Drawing process in the ''Academic Study of a Male Torso'' by [[Jean-Auguste-Dominique Ingres]] (1801, [[National Museum, Warsaw]])]]

;[[Motor control]]
Motor control is an important physical component in the 'Production Phase' of the drawing process.<ref>{{cite journal|last=van Somers|first=P|title=A system for drawing and drawing-related neuropsychology.|journal=Cognitive Neuropsychology|year=1989|volume=6|issue=2|pages=117–64|doi=10.1080/02643298908253416}}</ref> It has been suggested that motor control plays a role in drawing ability, though its effects are not significant.<ref name="Cohen 1997 609–621"/>

;[[Perception]]
It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.<ref name="Cohen 1997 609–621"/> This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.<ref>{{cite journal|last=Cohen|first=D. J.|author2=Jones, H. E.|title=How shape constanct related to drawing accuracy|journal=Psychology of Aesthetics, Creativity, and the Arts|year=2008|volume=2|issue=1|pages=8–19|doi=10.1037/1931-3896.2.1.8|url=http://people.uncw.edu/cohend/research/papers/cohen%20and%20jones%20-%20aca-2-1-8.pdf |archive-url=https://web.archive.org/web/20170809060155/http://people.uncw.edu/cohend/research/papers/cohen%20and%20jones%20-%20aca-2-1-8.pdf |archive-date=2017-08-09 |url-status=live}}</ref>

This evidence acted as the basis of [[Betty Edwards]]' how-to-draw book, ''[[Drawing on the Right Side of the Brain]]''.<ref>{{cite book|last=Edwards|first=B|year=1989|title=Drawing on the Right Side of the Brain|publisher=Putnam|location=New York|isbn=978-1-58542-920-2}}</ref> Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.

Furthermore, the influential artist and art critic [[John Ruskin]] emphasised the importance of perception in the drawing process in his book ''The Elements of Drawing''.<ref>{{cite book|last=Ruskin|first=John|title=The Elements of Drawing|year=1857|publisher=Dover Publishcations Inc|location=Mineola, NY}}</ref> He stated, "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see."

;[[Visual memory]]
This has also been shown to influence one's ability to create visually accurate drawings. [[Short-term memory]] plays an important part in drawing as one's gaze shifts between the object they are drawing and the drawing itself.<ref>{{cite journal|last1=McManus|first1=I. C.|last2=Chamberlain|first2=R. S.|last3=Loo|first3=P.-K.|last4=Rankin|first4=Q.|last5=Riley|first5=H.|last6=Brunswick|first6=N.|title=Art students who cannot draw: exploring the relations between drawing ability, visual memory, accuracy of copying, and dyslexia.|journal=Psychology of Aesthetics, Creativity, and the Arts|year=2010|volume=4|pages=18–30|doi=10.1037/a0017335|url=http://dspace.smu.ac.uk:8080/xmlui/bitstream/handle/10875/226/PACApaper2010.pdf?sequence%3D1|citeseerx=10.1.1.654.5263|access-date=2017-10-25|archive-url=https://web.archive.org/web/20171026001726/http://dspace.smu.ac.uk:8080/xmlui/bitstream/handle/10875/226/PACApaper2010.pdf?sequence%3D1|archive-date=2017-10-26|url-status=dead}}</ref>

;[[Decision-making]]
Some studies comparing artists to non-artists have found that artists spend more time thinking strategically while drawing. In particular, artists spend more time on 'metacognitive' activities such as considering different hypothetical plans for how they might progress with a drawing.<ref>{{cite journal|last1=Fayena-Tawil|first1=F.|last2=Kozbelt|first2=A.|last3=Sitaras|first3=S.|title=Think global, act local: A protocol analysis comparison of artists' and nonartists' cognitions, metacognitions, and evaluations while drawing.|journal=Psychology of Aesthetics, Creativity, and the Arts|year=2011|volume=5|issue=2|pages=135–45|doi=10.1037/a0021019}}</ref>