Project 3: Thoughts and feelings whilst completing exercise 1, from start to finish – ‘Developing your studies’ 


  • wondering how to link artists…my idea to work on this exercise is similar to Peter Doig and create separate drawings and then put them together to be viewed as one.
  • The movement/the energy in the piece is what I want to create. I’ve completed a drawing of Tower Bridge but I haven’t been making a suggestion or selection of marks. I find it tricky to ‘find my voice’ and also stick to the exercises. It’s restricting…
  • Directional shading of lines/marks:
  • can make an object flat and 2D
  • concentrate on mark making
  • foreground and background amalgamated
  • not concentrating on the depth of the piece visually
  • I would like to play around with depth and create layers in a 2D way
  • or mix both flat 2D ideas of drawing with the idea of foreground and background
  • need/want to create repetitive make snap make making

I was a bit fed up of being in the studio – even though I have loads to do I needed to get out. So I decided to take Virtues approach to drawing. I was quite moved by his processes so I decided to go out and sketch some landscapes. It was a beautiful day!!!!

I quite liked David Hockney’s quote from a Youtube video I watched this week – ‘You paint from memory, even when you’re painting live. There is no such thing as the objective. It is always seen with memory’.

Ok so at the moment I’m completing my drawing for exercise 1 – a big one to combine all aspects so far. I feel I am getting more experimental which is the type of artist I consider myself to be. I like to explore with media and elements and principles of art (line, tone, texture etc) rather than working to create a polished drawing. I have completed more and more research recently and I’m starting to pick up on many ideas from various artists about wondering what the point is in creating a drawing or painting that would look the same as if you took a photograph of the scene/person/thing. Drawing is about expression and feeling and processes of the artist and I really like this idea and feel that I really want to challenge this. There has also been a student forum discussion group about what materials we should be drawing with and whether a particular piece counts as a drawing. There was one particular student who had a very strong negative opinion about the more conceptual drawings, probably the ones that I have been making. He believes that because this is drawing 1 and we are learning the basics that we should stick to the basics before getting to involved in a more conceptual thought process. Why?! He believes that people who create drawings or painting like this cannot draw and cannot be counted as artists. Again, I challenge this. Why do we have to create a perfect picture that which a photograph can do, which has absolutely no expression or feeling in the piece.

I am reading an auto-biography about Man Ray at the moment and I liked a sentence that I had read which was: ‘ To me, any painting is a faithful record of an experience at the time it is made’.

He also mentions in relation to viewing a painting from a friend of his ‘They were not particularly thrilling or interesting to me, but must have been a satisfaction to himself, as paintings generally are for their authors’. – should it matter what other people think?! To a certain extent, yes. I feel it is important for students, tutors and critics to critique your work but this shouldn’t formulate how you decide to work and affect your practice. I have always felt strongly to stand by what I enjoy and to put many personal emotions into my work. I decide what I want to work with, wether it be colour or a theme and I go with it. I revel in the journey I take.

The next stage for my drawing however is to layer and experiment with cellophane. I had another idea to stitch the drawings onto fabric and then draw on the fabric in the gaps between the paper.

I had two separate drawings I planned to put together but I decided it needed a third. I tried a slightly different approach when drawing this and tried to remember the voice of many drawing tutors and not to rub out my mistakes. This will add to the effect of the marks I want to make.  (something that I have read about during my research and other drawing exercises). I am embracing this notion. In turn I think this will create and enhance the essence of movement that I have decided to explore with.

I can re-work the images and drawings again and again which will add to the different layers I want to create in my work. I also don’t know whether to add blocks of colour into this. Although I feel that my work is very much linked to the personal emotion and the time of which it is created. I.e. It’s winter at the moment and it’s cold and dark which I feel reflects my work – again this relates to a recent artist I have researched. Terry Winter’s work is influenced by the location of his studio and makes it apparent in his work. By living in a city (which I now do) you are constantly surrounded by dull buildings and architecture which visually create strong, rigid, geometric lines. There is pollution in the city and the overall historic thoughts and feelings of city life is rushed and unpleasant, again I could link this to another artist; George Seurat. However this can also be juxtaposed with the power of nature and the idea of nature taking over – IDEA – draw/photograph pieces around the city where this is actually happening – the work of Peter Doig has inspired this idea!!!! I wanted to combine both organic marks and lines with rigid structures of city architecture. Winter also works on the idea of connecting organic and conceptual space. I’m starting to work up a theme with my research and my own interests but concerned I won’t be able to take it though with me for the next exercises but we’ll see.

I believe that there is a stronger feeling of vulnerability living in a city than there is in the country. Living in the country may feel more ‘liberating’ and less ‘demanding’ than the fast paced life of the city. I think my work reflects this since moving here. However by writing and reflecting on my ideas and processes, it has allowed me to notice the reason I have been using black and white a lot recently. Maybe I can use this opportunity to spark hints of colour throughout the city and throughout my work.

  • I could create blocks of colour that are unrelated and un-connected to buildings
  • they have been put in random places (the objects in my drawings) – freehand/childlike/comical drawing – something my tutor picked up on from my previous assignment was that she felt some of the drawings were quite humorous.

Something else I notice and love since moving to London is the mix of the old and the new buildings. I would like my drawings to contain both and perhaps I might go into the historical meanings more. Layer the drawings with not necessarily more drawings but marks and aspects taken from other drawings and, or photographs. I did this for the final layer and took aspects from organic objects, plants and flowers, to create a more fragile effect for the final layer of my drawing.

I would like to take this strong development piece through with me to the next exercises. I’m really starting to get involved with my work and enjoying it a lot more. Various things I would like to focus on are:



Mark making



Different surfaces

Idea’s of organic mixed with architecture

City scape

Below are some artists I would like to explore further after briefly being exposed to their work when researching others. Their visual influences and ideas will formulate a wider range of development strategies for me to experiment and explore.

Paul Balmer

Liz Orton

Cy Towmbly

Lucinda Rogers

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