Learning to draw by memorizing information or working with methods robs the student of drawing’s inherent joy and leads to what I would describe as academic training. This type of drawing contains some of the appearances of good draughtsmanship without its real beauty.
How well does an artist need to know perspective? That depends on what he is drawing and what his interests are. Obviously, drawing the fields of Holland requires less perspective than drawing the interior of the Metropolitan Museum of Art. Perspective should serve as a tool, not as a masochistic form of torture.
An artist in any field perceives the importance of the whole. He notes significant information and makes order from chaos. Such a mind appreciates elegance, simplicity, design and restraint.
Great drawings are the result of risk-taking. Experimentation expands an artist’s knowledge of materials so that when the need arises, without thinking, the artist is more apt to choose the medium and surface appropriate to conveying beauty.