Nowadays, the range of subjects that articulates the foundation learning of architectural graphic expression at Spanish University suggests a split behavior. Although the different study programs over the years have reduced its load, its general structure (inherited, in many cases, from one or other departmental traditions) has not changed. The current graphic learning offers architecture student a knowledge sectioned into isolated compartments. They entrench themselves in the sensorial-subjective area, or in the intellectual-objective one of the thinking and expressing architecture by drawing. This type of approaches, guided by a certain linear logic, leads to identify by contrast and opposition in all sorts of formulations: subjectivity vs objectivity, induction vs deduction, freewill vs determination, intuition vs deduction, art vs science, conception vs execution, freedom vs constraint. This paper aims to point out those issues that allow us to imagine an associated learning, unitarian and unified, going further into the conceptual and material principles of architectural drawing by means a rigorous point of view. Highlighting the indivisible nature of drawing, and noting its deep versatility, flexibility and expressive adaptability, the text identifies logics based on order, clarity, similarity, precision and strictness, as strategies of reconcile and agreement (of relation and inclusion).