Focusing on ideas that are ‘niggling’ away at me before moving on…(i decided to do some extra drawings, one with movement and one to try and focuss on getting a good view of perspective into a drawing).

Movement drawing:

  • I’m going for movement on this piece and the whole idea of ‘embracing’ mistakes – it’s abut the journey you take in your drawing (I must admit that this idea for this drawing was inspired by thoughts I had from reading ‘drawing now’). Working from a photograph of a cityscape of London. I wanted to work large scale to push the boundaries of movement.
  • I feel much less under pressure to perfect the drawing. I’m enjoying it a lot more as I can feel myself in the drawing, whether that’s to do with scale and the physical movement I am putting into the piece, I’m not sure. Although I am being more expressive I am keeping in mind (as I feel I would have not done previously in an expressive drawing) the perspective and scale of buildings. I am trying to fill in the background as well. Working with the idea of not rubbing out mistakes but working over and layering marks to create the lines that are correct.
  • Movement – drawing as your arm/hand travels through the piece.
  • The drawing has taken 1 hour so far. I would like to finish it but I am running out of time so I will take what I have from this experience and move on – and may return to the ideas for my assignment piece.



A2 Drawing of cityscape:

– Another go at perspective and cityscape, again unfortunately working from a photograph but hoping to get the perspective slightly better. Going to complete the drawing with mixed media, most likely charcoal and fine liner. This piece is not complete but hoping to work into it slightly more before moving on. I will continue to reflect in my journal.



Artist Research

John Virtue – Landscapes:

  • movement
  • tone
  • abstract
  • atmospheric
  • he draws on the ground – he draws with a few roofs in London
  • suggestive of shapes using tone – reflection/shadows
  • cityscape
  • creates perspective using tone and the effect of line he uses
  • ‘moves’ with his materials
  • ‘walking’ is his practice thats how he formulates ideas and drawings
  • ‘not interested in recording a history of London (with his picture making) I am interested in making exciting abstractions of what i perceive’
  • black and white
  • large scale
  • he’s famous for his work being very much linked to Constable and Turner
  • figurative – emotive

influenced by American abstract expressionists – franz kline and robert motherwell

relate to Constable and Turner as he ‘admires’ them – influence by them?

Virtue’s ‘skies’ represent a presence of Constable and Turner (National Gallery, 2005)

Julie Mehretu – landscape Allegories (2004)

her work is about layers: the physical layering of images, marks and medium, Juxtaposed with the metaphorical layering of time space, place and history


  • maze
  • godly
  • mystical
  • basic shapes for the first layer and then organic material on top?
  • maps
  • mark making
  • heavy with lines
  • sense of perspective? but perspective that is a mess?

Mehretu brings in 21st century city for inspiration – transferring its angry into her gestural sweeps of paint, ink and pencil. her drawings are often transposed from a projection which I have – maybe do a trace from a photograph and then I can ‘blow it up’ on the projector?!

  • does this defeat the object of drawing – although perhaps I could layer objects onto the projector making the various lines on top of the drawing
  • ‘infinite urban narratives, architectural views & street plans into single compositions’ – so does she combine various drawings together – something which I did in assignment 2

Sounds like exactly how I considered my work for assignment 2 – something I wanted to explore further so I think I should take the opportunity to do so… – do all the things I said i;m going to do, like my tutor said to make sure I do do these experiments. BUT how can i make mine different…

everything that she draw’s is honest, small & literal mark making.

  • from a distance some images in her work look like buildings/tower blocks but on close inspection they are carefully coated marks that she has planned & drawn together.
  • untitled (two) 1996 – ink & acrylic on canvas. Museum Dhondt – dhaenens

Leave perspective lines in? – something I quite liked the effect of in my drawings – why prep.. can’t I leave them in?!?! I get this effect from mehretu. (Artsy, 2017)

Landscape art? – land art?

Alan Baker – looks at perspective in a different way (out of town edit suites)

Lucinda Rogers

Seen as a visual reporter. She immerses herself in an environment and records straight from eye to paper which gives her drawings a sense of spontaneity. Her work records details and views of the changing city she lives in. She works in London and has worked in new york which she loves. (Rogers, L, 2015)

Her sketchbook drawings are very simple and I think her focus is on line whether that is subconsciously or not and is perhaps just her style of working.

  • very similar to how I have been working
  • simple
  • similar to julie mehretu – very similar to how I have been working with layering images
  • various types of lines – thick, thin, wobbly, straight
  • different tools/materials used – strong idea/theme in the back of my mind of drawing a scene without drawing it exact
  • all her drawings are completed entirely onsite
  • after her degrees she was started to be sent places to draw and report back to the company (Rogers, L, 2015)

Anton Barnard: Born south africa, studied architecture. now lives in germany. (Saatchi Art, 2017)

  • not a representation of ‘actual’ building but a vision of how an architect thinks about buildings before they are even built.
  • his cityscapes are visions for a city – not utopian but human & flawed
  • hid painting & compositional techniques are tied in with drawing & draughting techniques that are integral his work as an architect
  • like the sense of illusion in his work – i see a sense of illusions & i like it
  • he blends cubism, surrealism & abstract expressionism – very ‘shape’ heavy – from architectural background (Barnard 1990)


National Gallery. (2005) John Virtue. At: (Accessed on 28 March 2017)

National Gallery. (2005) John Virtue. At: (Accessed on 28 March 2017)

Artsy. (2017) About Julie Mehretu. At: (Accessed on 28 March 2017)

Rogers, L. (2015) Lucinda Rogers Shop. At: (Accessed on 28 March 2017)

Rogers, L. (2015) Sketchbook. At: (accessed on 28 March 2017)

Spitafields Life. (2010) Lucinda Rogers East End. At: (accessed on 28 March 2017

Saatchi Art. (2017) Townscape drawing by Anton Barnard. At: (accessed 28 March 2017)

Barnard, A. (1990) Anton Barnard – Artist. At: (accessed on 28 March 2017)


Side note thoughts…

I’ve been having some time to reflect on what has been successful so fa in this part of the course.

I really enjoyed drawing the cloud formations and I think this is because it felt like it didn’t have to look like anything in particular. There was no form to subject and I enjoyed using movement and mark making. This then followed through onto to my sketchbook walk which was a combination of both buildings and the organic world.

Other thoughts that I have been having on a side note that has been a continuous thought is exploring ‘movement’. I am keen to explore this wether it co-insides with my current work or not. I would like it to eventually circle round and be able to use it within this unit. I would like to explore movement within mark making in my work but also the physicality of movement.

Also keen to explore the idea of metaphorical meaning and layering in my work.

I am also going to buy a concertina sketchbook to explore the idea of a town scape and individual drawings being put together – use all aspects i have developed so far: include, movement, cloud formation, line drawing, tone etc etc

Also I had a thought about drawing a large scale drawing of cloud formations and then projecting onto it townscapes and so on..

notes from notebook

On a side note:

something that i’ve related a lot of my development and research to is about ‘movement’

  • physically and
  • suggestively in my work through marks and lines

I have been reading a new art book (considered essential reading from the course) called ‘drawing now’. I really agree and connect to what I have been reading so far and I am eager to explore the subjective in drawing. Until this course I was always scared of drawing – from school I know I was never the ‘best’ drawer or my drawings never demonstrated the objective but this book questions that and I am finally starting to enjoy the qualities and possibilities of drawing without having to put any restriction on it or on myself. Being able to challenge the idea of drawing and what drawing is and really, totally getting involved in this whole idea of contemporary art.

I am desperate to explore movement so I will be exploring this alongside my townscape drawings and taking the influences of artist I have looked at so far, especially Julie Mehretu and Luinda Rogers and for movement – John Virtue.

Also a lot of the artist I have come across ‘immerse’ themselves in their subject matter – I need to do this and get out of the studio!

Aerial Perspective

The first drawing I competed for this was again approached quite simply. I drew the outline of buildings and then added tone using fine liner and various mark making techniques. I don’t feel like I ‘pushed’ the potential of experimentation in this piece.


My second drawing was of the same scene, which was a shame as I hoped to be slightly more creative but had not had chance to find other images (as I was working from photographs). However I was keen to explore other media and returned to using charcoal as I hadn’t used this in a while. I really enjoyed using charcoal when drawing the cloud formations and I felt I had developed new understanding of using charcoal.


I felt that the charcoal was not completely successful. I used the charcoal with heavier pressure for the front buildings (in the foreground) and, in my head, I had planned to reduce the pressure of the charcoal for the mid-ground and background. However when it came to drawing the widows they seem to become darker than I had planned – I started to use my finger to soften the tone although this then caused the form to become blurred, which on reflection would have worked for the effect I was going for, but from the photograph I was studying the window looked quite clear which I then worked on top of and in turn created a darker tone which led to it becoming clear and the essence of it in the background was lost. On reflection I think maybe working on-site would be a good option to explore. I will take this forward for the next part of the course.

Next steps:

  • explore what I said I wanted to do with the projector
  • trace photograph on acetate
  • trace more than 1
  • project it and layer on other images – onto large scale
  • once its done – then add in clouds and charcoal
  • I think I also need to master perspective so I think I would benefit from returning to this – and this time draw from observation not photographs – wether its smaller drawings I think I need to concentrate on doing this
  • on a side note – drawing with movement