Drawing as a visual language. Drawing as the foundation for any form of art making. Drawing as process. Drawing as thinking. Drawing as idea development. Drawing as research. Drawing as observation Drawing as a skill. Drawing as a technique. Drawing as communication. Drawing as concept. Drawing as emotion. Drawing as exploration. Drawing as discovery. Drawing as form. Drawing as a way to communicate the incommunicable. Drawing as sculpture. Drawing as space. Drawing as site. Drawing as a way of seeing. Drawing as a way of being. Drawing as depiction. Drawing as realising. Drawing as uncovering. Drawing as brainstorm. Drawing as becoming. Drawing as sound. Drawing as object. Drawing as design. Drawing as product. Drawing as digital. Drawing as understanding. Drawing as a conclusion.

Image courtesy: Sally Esse

Image courtesy: Sally Esse

Workshop 1 - Responding to site, cite, sight: provocations and propositions arising from drawing emotion

Part 1 - Within the first half of this workshop, we were asked to draw in response to sound. Our drawings were based on a collection of still life objects that were sitting on top of a table in the centre of the room. It is clear through the series of disparate drawings that I ended up with, that even though the subject matter remained the same, the music was able to dictate how I depicted the objects in each sketch.

Part 2 - The second half of the workshop asked us to use visual scores/graphic scores as prompts for drawing. Again, we were also given the option to respond to the audio that was playing throughout the activity. In addition to this, we did an observational drawing using our non-preferred hand.

The relationship between art and music. This workshop highlighted the intersections between audible and visual art. That music can be visual, just as art can be audible. If I were to teach workshops based on these concepts, I would put particular emphasis on the exploration of the elements and principles. This is because I think it is important for students to understand that art does not exist solely in the material world. To explore this by linking the elements and principles to non-material things, is a nice way to illustrate such a link. Enabling students to see that art is not one thing, it it everything. The fluidity of ‘the arts’. Performance art and acting are interconnected. Music and Sound art are interconnected. Art is all encompassing.

Workshop 2 - Drawing emotion - Bridget Pound-Gow’s reflection on the workshop (I was absent)

Image courtesy: Elizabeth Nolan

Image courtesy: Elizabeth Nolan


1. White objects placed in the centre of the table

2. Perspex sheet with blue water based oil paint on it

3. Litho paper gently laid on top

4. With a light 2H pencil, blind contour what you see in front of you without looking down

5. After you’ve taken the litho paper off the drying rack (consider leaving the markings for negative effects). Repeat by rolling over the drawing left in the paint.

The above steps were sourced from Anthea Papamanos (fellow teacher candidate)

This process is a useful tool in helping students learn to see line and form without the added pressure that they often feel when their peers are able to see the process of their drawing. The strong aesthetic qualities of the materials/mediums mean that students who may not be confident in their drawing abilities are able to produce a work that they are proud of.

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Observational Drawing - Drawing an image of an object

-Micro drawing
-Decide which section you’d like to draw
-Decide how large you’d like to draw it
-Place the image beside where you will draw
-Get an idea of the size by using your finger or a pencil
-Measure and mark where the object finishes
-Mark with a dot where it starts, where it finishes, maybe the sides, and a central access.
-Lightly and slowly draw the outline of the object you are drawing
-Lightly outline the shapes within the object you are drawing
-Render the shadows and shades by using rendering techniques (Stipple, scumble, scribble, hatch, crosshatch, dash shade/render)

In order to produce an accurate observational drawing, you must observe: your eyes must continually dart from the piece of paper to the object and back again. Not just once or twice, but constantly. Do not draw from memory. Draw what you see. Look at the scale and variation in pattern.