Daily Drawing & Painting Practice

The work below is an example of some of the painting and drawing sketchbook work I have done.  I am trying to do both for 10-15 minutes a day each.


sb1 sb2 sb3 sb4

sb5 sb6 sb7 sb8



psb1 psb2 psb3 psb4

psb5 psb6 psb7

Review of work:-


I can see how easily I over-work pieces in my sketchbook, even in 10 minutes! I have enjoyed returning to images to work on them in layers, however, I can see the need to reign myself in and introduce some reference to structure now. I think I am not conscious enough when working – I am too much at play.

  • Bring in some structure, whether figurative or geometric etc
  • explore what signs, symbols, imagery I might use
  • Be more present and have specific intent for each piece created even when they are produced in a  small amount of time


The feeling of freedom, allowing form to evolve through layers and leaving time between each working in the painting has been a great experience. Surprising things start to happen, I am committed to the process, however, there is no planning. As such there is a ‘gap’ in intention/decision making.  These are areas that are need to work on as follows:-

  • Pace.  I am not varying it enough. I have forgotten I can really slow down or really speed up.  There is uniformity to my paintings because of this and it makes them flat
  • Brush Strokes/Mark-making – need to improve and vary this.  I need to try using thicker layers, denser paint, load up my brush with more paint. I also need to introduce random elements like zest-it or drips
  • Scale – even though these are exercises I wonder if I should be working larger. Partly the constraint is financial – simply the cost of buying larger canvases.  I am conscious that I need to start experimenting with producing human-size work to see how I can engage the viewer in a non-intellectual way
  • Pallette – the colour theory workshop book I have bought has confused me at the beginning – the instructions are not straight forward and I don’t know how to get going with it.  I am therefore going to approach colour theory differently – I need to set up my palette borrowing colour themes from other artists and see how that works for me.  If  I have prepared the paint before I work I may then find it easier to get to grips with the way the colours work together.
  • Experiment with washes and varnish.
  • Explore ‘expressive, meaningful brushwork’ (Fiona Rae) – what does that mean to me?



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