ROYAL

DRAWING SCHOOL The Drawing Year THE DRAWING YEAR The Postgraduate Programme A full scholarship course

Royal Drawing School Enquiries 19–22 Charlotte Road T 020 7613 8534 twitter.com/RoyalDrawing EC2A 3SG E [email protected] instagram.com/RoyalDrawingSchool Registered Charity 1101538 www.royaldrawingschool.org facebook.com/RoyalDrawingSchool THE DRAWING YEAR IS A ONE YEAR INTENSIVE MA-LEVEL POSTGRADUATE PROGRAMME

ALL STUDENTS ON THE DRAWING YEAR ARE AWARDED A FULL SCHOLARSHIP

SPEND A YEAR DRAWING AND SEE HOW IT CHANGES YOUR PRACTICE... 7 CONTENTS

THE DRAWING YEAR 13 WHY DRAW FROM OBSERVATION? 15 HOW THE YEAR IS STRUCTURED 16 ROYAL DRAWING SCHOOL CURRICULUM: 19 DRAWING IN THE STUDIO 21 DRAWING LONDON 23 DRAWING FROM ART 25 DRAWING AND IMAGINATION 27 PRINTMAKING 29 CORE PROGRAMME 32 FORUM, LECTURES AND FILMS 34 OTHER OPPORTUNITIES AND RESOURCES 54 STUDIOS AND LOCATION 57 TUTORIALS AND ASSESSMENT 61 EXHIBITIONS AND AWARDS 63 ALUMNI OPPORTUNITIES 65–69 WHAT DO OUR STUDENTS GO ON TO DO? 71 STUDENT STORIES 72–76 STUDENT FUNDING, SCHOLARSHIPS AND BURSARIES 78 APPLYING & FAQ'S 80–83 FACULTY 85 OUR MISSION 92 TRUSTEES, ASSESSMENT AND ACADEMIC BOARD 93 CONTACT 95 DRAWING HELPS YOU TO PUT YOUR THOUGHTS IN ORDER. IT CAN MAKE YOU THINK IN DIFFERENT WAYS.

DAVID HOCKNEY RA

Drawing by Liam Walker THE DRAWING YEAR

Introduction from the Artistic Director

The Royal Drawing School started The Drawing Year, Drawing Year students benefit from working amongst its postgraduate programme dedicated to drawing peers and from the contact with tutors and visiting from life in 2000. It is unique in the spectrum of tertiary lecturers, who represent a wide spectrum of artistic level art education in the UK. practice. Both students and faculty value the freedom of intellectual exchange and the atmosphere of shared The Drawing Year is a course of study at commitment. postgraduate level which provides an opportunity for intensive research and practice in drawing from Drawing is a primary language natural to all human observation. It sees drawing both as an end in itself beings. At the Royal Drawing School, it is taught and in relation to other areas of practice. as a way of thinking, seeing and understanding. Fundamental to the course is the assertion of the con- Drawing can be direct, incisive, intimate, surprising, nection between looking and making images; a belief funny or confrontational. Using the most limited that conceptual innovation can be generated by an of means, it offers some of the most demanding active engagement with the visual world that surrounds opportunities for growth to a contemporary artist, us. Drawing connects what we see with how we think. both visually and intellectually, allowing a free It is a crucial meditation between the world and our transition between mediums. It is one of the idea of it. More flexible than language, drawing has the simplest and yet the most endlessly complex of human power to express thought in a new way, to communicate activities, encompassing a wide scope of practice and with economy and authenticity. interpretation. Catherine Goodman, Artistic Director The Royal Drawing School provides a supportive Royal Drawing School and lively environment for sustained exploration in drawing, in the belief that practice strengthens hand and eye, and concentration nourishes the imagination.

13 Drawing by Kathryn Maple I HAVE SENT MYSELF WHY DRAW FROM BACK TO SCHOOL ... OBSERVATION? I AM RESTARTING MY

At some between 1950 and 1980, most British art me as a moment of seeing, as an epiphany, to which I schools abandoned the observational drawing that must somehow respond. And if we’re fortunate, such STUDIES FROM THE had been at the centre of all Western artists’ training a drawing can become not a mere ‘sketch’, but a sign for at least 300 years. After the demise of neoclassical close to embodied thought. values, plastercast and nude model regimes had come to seem irrelevant, often oppressive and ritualised; In the words of Josef Herman, ‘by distancing itself ‘Slade drawing’ was characterised by from the physicality of solid matter, drawing comes BEGINNING, FROM as ‘a disease’. closest to the actual working of the mind.’ Watteau spoke of ‘devoting his morning to thoughts-in-red- Nevertheless, by 2000 many artists were aware of chalk’; a young child told Marion Milner a drawing a lacuna in their training, rendered more glaring by was ‘a line around a think’. ABC ... SO I SHALL HAVE the widespread renewal of figurative imagery. Could one set up a drawing school that took account of the At the top of ’s list of necessary qualities ‘de-skilling’ inherent in twentieth-century modern- in art, she put ‘The Strangeness’, and perceptual ism, that faced up to the difficulties of representation drawing is a good route to the unexpected. Its absence in our time, yet still offered an intense engagement from most recent surveys of ‘Drawing Today’ (including TO STUDY DRAWING. with perceptual experience? Bonnard’s definition the Jerwood) results from a misunderstanding – that of art as ‘The Transcription of the Adventures of the such drawings lack ‘concepts’. But I value this mode of Optic Nerve’ was one starting-point, and his own story drawing precisely for the challenge it presents to any – throwing away his camera, to embark on a lifelong artworld ‘positioning’, for the radical disinterestedness daily practice – seemed emblematic of that ‘renewal by built into our perceptual response. I DRAW ALL THE TIME ... Drawing’ enacted by several more recent artists. In the case of Philip Guston, for example, drawing answered When a drawing is going well, it takes on its own to a ‘feeling of needing to start again, with the simplest momentum and autonomy, free of all the baggage of means, to clear the decks.’ that painting inevitably carries. It feels ‘clean’. So the utopian idea arises, of a ‘Drawing Community’, Speaking personally, my own principal reason for going pursuing an open debate: through lectures and forums, out drawing is to renew my sense of , of being-in- certainly, but above all through all the variety of our PIERRE BONNARD the-world; if I stop drawing for several weeks, I find very different drawing procedures. my spatial invention goes dead, and my art becomes schematic. But I also draw because the specific – a RA, Academic Board friend’s face, a familiar street – has appeared before Royal Drawing School

15 HOW THE YEAR UNTIL WE CAN INSERT IS STRUCTURED A USB INTO OUR EAR AND DOWNLOAD OUR

The course is a full time postgraduate programme. The extended year Students commit to a minimum of three and a half Students now have an opportunity to extend The taught days each week comprising the Core Programme Drawing Year for a further term until December of their THOUGHTS, DRAWING on Wednesdays, plus two other days of elected courses graduating year. For these additional three months, and the weekly evening forum and lecture. They are students commit to attending at least one full-day also expected to spend a minimum of two days in their drawing course each week and retain their studio space studio. Students are encouraged to attend the Monday in order to prepare for the end of year exhibition in night Drawing Year Masterclass. December. This period gives students the opportunity REMAINS THE BEST WAY to further develop their personal practice, acting as The courses a springboard into life as a practising artist after the Drawing Year students build their own programme course. from over 38 drawing courses on offer each term. OF GETTING VISUAL These are held in the Shoreditch studios and out of house. Every course offered at the School is taught at postgraduate level by a distinguished faculty of over 75 drawing tutors, all of whom are practising artists. Most courses are also open to the public. This ensures INFORMATION ONTO a healthy mixture of students from all backgrounds who inspire, motivate and learn from one another over the course of each term. THE . Three ten-week terms The Drawing Year consists of three ten-week terms, running from September until the end of June. Students keep their studio space over the summer following their summer term and continue to work unsupervised on their own practice. RA

Drawing by Thomas Harrison 17 ROYAL DRAWING SCHOOL CURRICULUM

Courses at the Royal Drawing School are divided into three main areas: Drawing in the Studio, Drawing from Art and Drawing London. Imagination feeds into all of these areas of the curriculum and there are also specific courses with particluar on the role of imagination in drawing from observation. Students are encouraged to explore all of these as they complement each other and contribute towards seeing, drawing and learning in new ways.

In addition to these areas, students attend the Core Programme. This component of the course brings together all students from The Drawing Year through intensive weekly sessions that introduce them to a wide variety of approaches, subjects and themes and helps foster dialogue amongst the year group.

With over 100 different courses to choose from over the year, students gain a broad range of experience and teaching input from our diverse faculty and their varied approaches to drawing. As part of their individual programme, all students take Drawing at The and an out of house course at some point during the year.

The following pages list examples of the courses offered in each area of the curriculum, however these are subject to change each term. For the most up to date programme of courses offered visit our website or call the office to ask for a brochure for the term.

19 Drawing by Tyga Helme DRAWING IN THE STUDIO

Drawing is an expression, a physical observation, an exploration, a dissection, a concentration, an obsession, a release. Drawing is a primal universal language. It can be sophisticated and neurotically intricate and it can be beautifully diagrammatic, taken to the simplest of forms to indicate the most complicated of nuances. Everyone can draw and the most fascinating drawings are like fingerprints. Identifiable to the individual. A double sided page. A description of the subject and by being so, an illumination of the draftsman. Ishbel Myerscough

Courses include: Life Drawing / Life Drawing: Human and Animal Anatomy / The Body Clothed / Drawing a Head / Transforming Observation and Imagination / Sustained Pose / Man and Beast / Materials of Drawing / The Line of Beauty / The Figure as Portrait / Life Drawing: Colour and Memory / The Studio Room in Colour / Drawing a Story / The Figure in Space / Drawing from Film / Drawing a Head: Expression and Colour / Drawing the Graphic Novel / Figure, Space, Form

21 Drawing by Anna Bergin DRAWING LONDON

Drawing in the street tends to demand a very different language to that of the life room: nothing here is fixed, the world is in flux. You have to take many leaps-in-the-dark, space is no longer measurable or finite. Big city alienation is often a problem faced by students, but the activity of drawing allows a fight back – a kind of participation, even. Standing one’s ground, pencil in hand, everything falls into place – and then, if we’re lucky, one epiphany follows another. Even the most modest act of drawing – plotting the counterpoint of figures and traffic as they move along the street – can deliver a wonderful sense of release and renewal. Timothy Hyman RA

Courses include: From the National Gallery to the Street / Re-Drawing London: City in Transition / Drawing Space: Interior and Exterior / London in Summer: Drawing by Night / Drawing London’s / Nocturnal Interiors / Model in the Landscape / Drawing in the Park

23 Drawing by Esmee Hodsoll DRAWING FROM ART

Drawing from paintings is the best way to understand them. Being able to follow the extraordinary, rich and complex structure of an image from an earlier time which is both simple and mysterious is thrilling. It’s not about producing attractive drawings, rather it’s to learn something and have an exciting experience along the way. Paul Gopal-Chowdhury

Courses include: Drawing at The / Drawing at The National Gallery / Drawing from Film / Rhythm, Form, Space: Drawing at the V&A / Evening Drawing at The National Gallery / From the National Gallery to the Street

25 Drawing by Thomas Harrison DRAWING AND THE IMAGINATION

Drawing is the very beginning of my practice: it is my first impulse. Drawing relates seeing to making and feeling to language. As I draw, this action translates and pulls together unconscious ideas, with imagery drawn from observation. Sarah Pickstone

The Royal Drawing School sees the imagination as Courses which explore the relationship between an essential component of observational drawing. observation and imagination include Drawing: Colour Several courses are offered which encourage the and Memory, Man and Beast, Transforming Observation student to relate to the subject of their drawing in an and Imagination, The Body Clothed, Drawing: Immersive imaginative and personal way. This can help students Narratives, Re-drawing London: City in Transition, find focus in a drawing, or to experience more keenly Drawing a Story, Drawing the Graphic Novel. the need to respond to what is in front of them.

Courses such as Drawing a Story use a written narrative as the starting point for working in the studio with a life model. The experience of making highly charged imaginative drawings of a live model inform subse- quent interactions with the figure in other contexts.

Drawing the Graphic Novel addresses the blossoming interest in graphic novels and their wide scope for using drawing as a means of communication and expression. Students focus on creating a sequential narrative from their own drawings. They draw from observation, memory and imagination, finding stories in sources as diverse as autobiography, history and literature, as well as in the simple observation of everyday life.

27 Left Drawing by Jessie Makinson Above Drawing by Josephine Birch PRINTMAKING

In addition to the three main areas of study, the Royal Drawing School also offers the opportunity for print- making. Etching is seen as an extension of drawing. Both day and evening classes are held, offering the opportunity for Drawing Year students to learn and explore various techniques.

Sessions are led by a variety of experienced tutors who introduce and develop intaglio techniques with an emphasis on etching (hard and soft ground, aquatint, sugar lift, white ground) as well as demonstrating other less conventional methods.

Individual guidance is given to each student to ensure that both beginners and advanced printmakers are able to find their own direction and the methods and techniques which suit them. As well as bringing pre- prepared drawings to work from in the print room, students are encouraged to take etching plates up to the life room to draw on directly.

I learnt that drawing was about more than making a drawing; it was also about seeing more and having a richer vision. Clare Davidson, alumna

29 Etching by Jack Tatham IF ONLY ONE COULD DRAW! I CAN’T. THAT’S WHY I KEEP ON DRAWING. ALBERTO GIACOMETTI CORE PROGRAMME

The Core Programme is an opportunity for The Drawing Year students to come together as a year group every Wednesday. This intensive component of the programme introduces a wide variety of approaches, subjects and themes that students may want to explore further in a 10-week course. In these sessions, students are pushed to experiment with new ways of seeing and asked to critically engage with each other’s work. Discussions and themes that develop in these sessions are often expanded in the forums at Shoreditch. Core Programme sessions are taught by Senior Faculty, visiting artists and alumni faculty, who often collaborate with one another.

The whole year amounted to a breakthrough in being playful and doing things that scare you. I never took chances with my work before The Drawing Year. Poppy Chancellor, alumna

Overleaf Drawing by Pollyanna Johnson Above Sketchbook by Rosie Vohra FORUMS, LECTURES AND FILMS

Forums Artists on Film All Drawing Year students attend a forum on Every spring term the Royal Drawing School shows a Wednesday evenings. The forum is tutor-led and is series of films about artists in conjunction with the an opportunity for debate on aspects of drawing in Artists on Film Trust. This is a rare opportunity to see historical and contemporary contexts. Students influential films on artists in the company of also give presentations on their own work or area of filmmakers, artists and critics. Screenings take place at research. the School on selected Wednesday evenings, introduced by a brief talk and discussion by the director, artist or Lectures and talks critic. Past screenings include films on , Following the forum each week, there is an evening Anselm Kiefer, Chuck Close, Alberto Giacometti, Alice programme of talks, lectures and in-conversations Neel, Yves Klein and Edward Burra. brought together by writer/artist Julian Bell and art critic/artist William Feaver with contemporary artists, curators and art historians. Past speakers include Sir Peter Blake cbe, Helen Cammock, T. J. Clark, Eileen Cooper ra, Dexter Dalwood, Tracey Emin ra, Denzil Forrester, , David Hockney ra, Rachel Jones, Michael Landy ra Elect, Ana Maria Pacheco, Grayson Perry ra, and Hans Ulrich Obrist. Recent lecture subjects have covered: On Not Being Able to Paint, a conversation between Laura Smith, Lucy Stein and Claudia Tobin; Animation, Arrivants and Activism with Joan Ashworth, Lee Shearman and Emily Haworth-Booth; Timothy Hyman RA on ; William Feaver on and Griselda Pollock on Charlotte Salomon IT IS ONLY BY DRAWING OFTEN, DRAWING EVERYTHING, DRAWING INCESSANTLY, THAT ONE FINE DAY YOU DISCOVER TO YOUR SURPRISE THAT YOU HAVE RENDERED SOMETHING IN ITS TRUE CHARACTER. CAMILLE PISARRO Overleaf Print by Jack Tatham Above Drawing by Olivia Kemp Drawing by Olivia Kemp Overleaf Drawing by Clara Drummond Above Drawing by Christabel Forbes Drawing by Matthew Booker Drawing by Caitlin Stone Drawing by Salma Ali Drawing by Chris Green Drawing by Laura Footes AS QUANTUM PHYSICS HAS DISCOVERED WE ARE NOT PHYSICALLY SEPARATED; DRAWING PUTS OUR FINGERS ON THE PULSE OF THE WORLD, THROUGH IT WE FEEL AND EXPLORE AN INTERDEPENDENCE WITH OUR ENVIRONMENT - IT IS A GENEROUS AND EVER WONDROUS ACTIVITY. CATHERINE GOODMAN, ARTISTIC DIRECTOR

Drawing by Liam Walker 53 OPPORTUNITIES AND RESOURCES

Freshers’ week In September, there is a seven-day Freshers’ Week Artistic practice and professional development programme which introduces students to the School’s The professional development programme is curated curriculum. During this week specialised workshops to run throughout the year; visiting artists, curators, are also organised for students. Previously these have private gallery owners and art dealers offer advice on included an introduction to materials where students aspects of professional practice. The intention of learnt about preparing grounds and making their own this programme is to prepare students for life as a paper, paint and drawing materials, and a practising artist after The Drawing Year. Topics include course where students investigated the three- Archiving: Looking after, Organising and Presenting dimensionality of the head in preparation for drawing. your Work, Being a Self-employed Artist/Designer, Studio Development, and Being an Artist outside the Special access to collections and exhibitions Commercial Realm. Visitors have included Robert Students visit major London galleries and Brown, International Head of Research at Christie’s exhibitions throughout the year including early King St; Mike Kelley and Lygia Pape from Hauser & morning drawing visits with talks from curators and Wirth; Patricia Finegan, Managing Director free entry to all exhibitions at the Royal Academy and of Spin Communications, on media coverage, press the Courtauld for the duration of the course. Recent and commissions; and lawyer Henry Lydiate on arts gallery visits have included a private tour of Beyond legislation, tax, accounting and business advice. at the National Gallery with Gallery Director Dr Gabriele Finaldi, Frieze Art Fair, Frieze Summer painting trips Masters, Soutine's Portraits at The Courtald, David At the end of the summer term, students spend one or Zwirner, Hauser & Wirth, Victoria Miro, Gagosian, two weeks drawing and painting alongside their tutors Timothy Taylor, the National Art Library at the V&A and in varied and inspiring environments and landscapes. Stour Space Gallery and Studios. The School is also Locations include Pignano in Tuscany, Holker Hall in fortunate enough to enjoy unique access to the the Lake District, Château de Balleroy in Normandy, collections of Old Master drawings at Windsor and Raveningham Hall in Norfolk, and other private collections around the UK. Study trips to and Lybster in Scotland. draw from these collections are undertaken during the year. The Marco Livingstone Art Reference Library is also available to students at the School in Shoreditch.

Masterclasses Additional masterclasses and workshops are run throughout the year to enhance The Drawing Year curriculum, on subjects ranging from Drawing into Painting to Perspective and Structure. On Monday nights there is a Drawing Year Masterclass: these include Drawing the City by Night with Timothy Hyman RA and Life Drawing with Catherine Goodman, Artistic Director of the Royal Drawing School. STUDIOS AND LOCATION

The Royal Drawing School Shoreditch is located in a converted warehouse in the heart of East London’s art, design and fashion scene. It is close to galleries including Rivington Place, Flowers East and the , as well as many artist-run spaces in Bethnal Green, Hoxton and Hackney.

Drawing Year students’ individual studios are situated at SPACE studios in Hackney. They are purpose-built, with natural light, and accessible 24 hours a day, 7 days a week throughout the year, including holiday periods.

57 DRAWING IS NOT WHAT ONE SEES BUT WHAT ONE CAN MAKE OTHERS SEE. EDGAR DEGAS TUTORIALS AND ASSESSMENT

Tutorials Assessment Drawing Year students have one-to-one tutorials twice a Students attend an individual review of their work term with a senior faculty member. Tutors visit students each term with the Artistic Director and another Senior in their studio spaces to look at drawings and other on- Faculty member. A group crit is also held at the end going work, such as paintings and prints. of each term. There is no written component to the course. The School has a world-class faculty of distinguished drawing tutors, all of whom are practising artists. Postgraduate diplomas are assessed and awarded by an There are also opportunities for tutorials with independent board chaired by Eileen Cooper ra. visiting artists. Recent visiting tutors include Michael Landy ra elect, Jock McFadyen ra, Celia Paul, Andrzej Jackowski, Deanna Petherbridge cbe, Tom Hammick, Gus Cummins ra, Lynette Yiadom-Boakye, Graham Crowley, David Dawson and Peter Oswald.

61 Drawing by Caitlin Stone EXHIBITIONS AND AWARDS

End of Year Exhibition Awards An end of year exhibition of drawings is held in The Sir Award of £10,000 is presented to December at the Royal Drawing School’s gallery in a Drawing Year graduate each year. The award goes Shoreditch, with various prizes awarded on the opening towards a one year residency, art materials and a solo night. This is the culmination of over a year’s work and exhibition at the School’s Shoreditch gallery. a celebration of the achievements of the students. Other awards include: Collectors' Preview The Chairman’s Prize / The Jack Goldhill Drawing Prize Attended by curators, collectors and critics, this / The Trustees’ Prize / Machin Foundation Prize / prestigious exhibition of selected drawings takes place The Paragon Press Printing Prize just before the Shoreditch exhibition and has been held a Christie’s International in Central London for the past few years.

Open Studios Running alongside the Shoreditch exhibition and organised by students, this is an opportunity for students to show work from their studio practice including painting, sculpture and video amongst other mediums.

63 Painting by Rosie Vohra ALUMNI OPPORTUNITIES

Alumni network Alumni exhibitions The School has a vibrant network of alumni who Regular exhibitions are held in the Royal Drawing frequently collaborate on projects and exhibitions. School’s gallery in Shoreditch to showcase new work by We keep in touch regularly via our dedicated Alumni Drawing Year alumni. Relations and Projects Coordinator, with news of residencies, competitions, exhibitions and paid Tutor training opportunities. After graduating, students can apply to the Tutor Training Programme on the School’s Young Artist Paid commissions Programme for 10–18 year olds. These drawing courses We regularly offer our alumni the chance to undertake run in London and regionally,offering financial paid commissions, examples include drawing trips to support and professional development to alumni as Doha, Maastricht, St Petersburg, Paris and New York. they continue to cultivate their practice. Once qualified, tutors continue to teach on the programme and help to Discounted and free courses train the next generation of drawing tutors. All alumni receive a discount of 50% on all courses at the Royal Drawing School to enable them to continue their observational drawing practice and each term a selection of free course places are offered to alumni. We also run free drawing classes designed specifically for alumni as well as offering free admission to the Wednesday evening Lecture Series.

65 RESIDENCIES

There are many opportunities for alumni to travel Pignano, Tuscany, Italy and to participate in Royal Drawing School funded The Moritz-Heyman Residency at Pignano near residencies around the world. Volterra, Tuscany is open exclusivley to Royal Drawing School alumni and tutors. Pignano offers fully funded Dumfries House, Ayrshire, Scotland residencies available throughout the year, lasting two Fully-funded residencies are available throughout weeks, which include the use of a studio and accommo- the year and provide a private studio and self-catering dation on the Borgo Pignano estate. accommodation on the Dumfries House estate for up to four artists at any one time. In additon to Royal ESMoA, California, USA Drawing School alumni, artists are selected A recent alumnus of the Drawing Year is awarded from national and international art institutions a fully funded three-month residency in the USA at including The , RISD and The El Segundo Museum of Art (ESMoA) in California. Yale University School of Art. In addition to working on their own practice, the recipient has the opportunity to teach alongside The Hafod Estate, Aberystwyth, Wales ESMoA staff and the El Segundo community on This is a unique opportunity for artists who are innovative artistic projects and programmes. interested in working in a rural location, drawing inspiration from the landscape and the natural Hanover Grange, surroundings of the Welsh countryside. This residency An opportunity for two alumni to spend two weeks opportunity offers accommodation for two artists with drawing and painting at Hanover Grange, close to use of a studio for two weeks on the Hafod Estate. Montego Bay on the Island of Jamaica. The property offers a variation of inspiring landscapes from the gardens to beach and jungle. The residency also gives artists the opportunity to meet and work with other local artists who are based in the city of Kingston.

67 Drawing by Rebecca Harper THE INTERNATIONAL PROGRAMME

The Royal Drawing School in the United States The School collaborates with arts organisations in the United States that share our mission to teach and promote the practice of observational drawing. In 2014 the Royal Drawing School began building partnerships with some of the United States’ most renowned art schools. Together, we are developing residencies, workshops and exchange programmes to benefit art students on both sides of the Atlantic for whom drawing is central to their work. Currently, our partner art schools are the Art Students League of New York, the New York Academy of Art, the New York Studio School, the Pennsylvania Academy of the Fine Arts (PAFA), Rhode Island School of Design (RISD), and The Yale University School of Art.

69 Painting by Oliver Mulvihill WHAT DO OUR STUDENTS GO ON TO DO?

Most of our alumni work as practising fine artists who Our past students now have work in private and public regularly show and sell work or undertake commissions collections including the Royal Collection, National and have gallery representation. Other students have Portrait Gallery, The Ruth Borchard Collection, Victoria gone on to professional practice in areas including & Albert Museum, Southampton City Art Gallery, The illustration, animation, architecture, film and theatre Laing Art Gallery and the Millenium Gallery, Sheffield. design, textile design, book illustration and writing. As well as exhibiting widely in the UK alumni have Past students have won high-profile awards shown further afield from Berlin, Rome, and New York, including the John Moores Painting Prize, BP Portrait to Miami, San Francisco and Mexico City and Award prizes, Jerwood Drawing Prize, Trinity Buoy regularly participate in international residencies Wharf Drawing Prize, ING Discerning Eye Drawing including the Natural History Museum, London; Bursary, Sunday Times Watercolour Competition, Richard Ford Award, ; SeMA Nanji Residency, Bulldog Bursary, Rabley Sketch Award, Marmite Prize Seoul; BoCs Art Cosenza Artist in Residence, Italy; and for Painting, Lynn Painter-Stainer Prize, Mark Tanner Fljótstunga Residency, Iceland. Sculpture Award, The Ondaatje Prize for Portraiture, Sky Portrait Artists of the Year, Roald Dahl Funny Prize and Teaching Great x Palazzo Monti Residency. Many artists choose to teach alongside their practice. Alumni can apply to our fully subsidised Tutor Training Our alumni have been selected for prestigious Programme with the Young Artists Programme which exhibitions such as ’s ‘Painting Now’ and offers serious, sustained tutoring for children aged Flowers Gallery Artist of the Day, and have frequently 10–18. Many have used this experience as a springboard exhibited in the Bloomberg New Contemporaries, into teaching both adults and children. Whitechapel Open, Royal Academy Summer Show, Threadneedle Prize, Frieze, the Wellcome Collection, the Royal Collection, the National Portrait Gallery, and The .

71 Left Painting by Clara Drummond Above Painting and Installation by Jessie Makinson STUDENT STORIES

Tom Sander Drawing Year 2011 BA Sculpture and Environmental Art, Glasgow School of Art

Though I studied Sculpture and Environmental Art Martyr’ in Drawing at The National Gallery was an at undergraduate level my work and ideas had slowly important marker. Sustained drawing of this painting begun to move towards painting. I had become helped me better understand why I find it so fascinating dissatisfied with the formal languages I was using as and powerful. The way a precise formal language could a sculptor and felt that I needed to renew my approach be used to evoke contrasting, interlocking zones – both to generating and presenting my ideas. spatial, temporal, aural, tactile and emotional – continues to help me reflect upon what is possible for Drawing had never been a central part of my work, but a single image to communicate. as I moved towards painting I quickly came up against the limitations that occur without a basic grounding Since finishing The Drawing Year I’ve come to see it as in drawing. I applied to the Royal Drawing School with fuel and foundation that continues to assert itself in a sense that I needed to challenge myself to become my studio practice. Through focusing on drawing for clearer about my intentions as an artist and build a a whole year I feel I have been able to return to other better foundation for bringing them into being. A year elements of my practice with more clarity and purpose. of intensive drawing seemed the best way to do this. Studying at the School hasn’t displaced any of my prior interests, but it has allowed me to see and understand The course’s focus on working alongside other them in a wider historical context. students in tutor-led situations, whether this be in the life rooms, in museums or outside around London, was Sustained focus on drawing has helped me to develop new to me. Coupled with the intense nature of the year a clearer language for recording ideas and experiences, this meant that a sense of community quickly but just as importantly a language for finding ideas, developed through the three terms. for arriving within an idea through drawing. It has given me a stronger formal and conceptual framework The Drawing Year encourages questioning of your own that has allowed me to begin to reconcile approaches approach and motivations as an artist, not just for the and intentions in my work that had previously felt too duration of the course but as a guiding principle to take contradictory. from it. To make the most of The Drawing Year I found I had to continually step outside any artistic comfort I was fortunate to receive the Sir Denis Mahon Award. zone I may have developed. Though it was a little Receiving funding to develop new work has given me overwhelming at first, I’ve come to see the variety the opportunity to begin making work with renewed within the faculty and the differences between tutor focus at a critical time in my development, allowing approaches, as one of the School’s main strengths. It me to integrate the lessons of The Drawing Year into challenged me to form my own position more strongly my studio practice more fully than I might otherwise and understand more fully different approaches to the have been able to. figurative tradition and where I might be able to see my own work developing within it. Drawing has now become a daily activity. The versatility and unpredictability of drawing in its different forms There were several moments during the year that really continues to lead my studio practice in ways I could not broadened my thinking about drawing, which in turn have foreseen before applying to The Drawing Year. allowed me to make practical progress in the studio. Studying Giovanni Bellini’s ‘Assassination of St Peter

Drawing has now become a daily activity. The versatility and unpredictability of drawing in its different forms continues to lead my studio practice in ways I could not have foreseen. Tom Sander, alumnus STUDENT STORIES

Kathryn Maple Drawing Year 2013 BA Fine Art Printmaking, University of Brighton

While working on a six-month residency at the Muse After graduating, my drawings were selected to be Gallery in Portobello Road after leaving university, exhibited in Christie’s, New York alongside alumni, I realised that if I were to push my work forward, tutors and associated artists, it was a real honour. I was beyond my own imagination and memory, I needed to also part of a group show at Blain Southern Gallery with expand my knowledge and strengthen my techniques. two other alumni and have exhibited in The Marmite I really wanted to be based in London where art is Painting Prize and the Lynn Painter-Stainer Prize. everywhere and the diversity of courses that made up The Drawing Year has given me confidence to enter The Drawing Year offered an intense programme. This competitions and I was even lucky enough to win The really appealed to me. I was unsuccessful on my first Sunday Times Watercolour competition in both 2014 attempt, but I knew that I wanted and needed to try and 2016. In August 2017 I was part of The Painting again. Show, an exhibition of work from seven Royal Drawing School alumni in a disused warehouse in Brixton. Being At university I learned through process – instruction in part of this collective is really exciting and we have more the techniques of printmaking. The course was time- shows in the pipeline for the near future. consuming and comprehensive, but I knew I needed to broaden my practice on a more observational level – I have been selected for two residencies through and I wanted to paint. The Drawing Year, with its range the Royal Drawing School which have pushed me of courses, often moved me out of my comfort zone, professionally and expanded my practice. The Dumfries taking us from the landscape of the London parks, House residency in Scotland was a great escape from into the life drawing room with a man in a Minotaur the noise and rush of city life. Fresh air and peace is costume, or out into the hustle and bustle of Ridley very important. Knowing that I had to return in two Road market. It was artistically and emotionally weeks, I found it a great push to get stuck into the life-expanding. landscape and to discover it for myself. Work made on the residency helped fuel paintings back in the studio. I quickly became aware that you only get out of The I also went on the Arts for India Residency in Drawing Year what you put in. London is a city full Modinagar near Delhi, where I worked as an artist-in- of inspiration, which I was constantly absorbing residence and taught. The students were all very eager and always trying to find my focus in. I had already to learn new ways of working. India was incredible in established a subject matter, but I knew that by all its colours and shades and I am truly grateful to approaching drawing in different ways I could be The Royal Drawing School for giving me this fabulous challenged. Artists are constantly editing the things opportunity. I can’t wait to return. they see, but I was being taught how to become more aware even before starting to draw – cultivating a strong desire to discover through drawing what I am seeing. One of the most important lessons I will take from The Drawing Year is to keep observing the world around me with an inquisitive eye.

The hours spent working together in the life room, meeting to draw for the day in London or in the city at night, led to a real camaraderie among Drawing Year students I wasn’t expecting. Chris Green, alumnus

75 STUDENT STORIES

Liam Walker Drawing Year 2016 BA Painting & Drawing,

I find that one of the biggest challenges that faces an The ‘pacing tutor’ of the life room no longer seems artist is time - the constant challenge of juggling menacing, in fact the tutor becomes a mentor whose everyday commitments with their practice. These input and opinions are one of the most rewarding parts things slowly eat away at the precious time an artist of the course; they are not ‘teachers’ they are fellow needs and craves, to lock themselves away and make artists there to share in the joys and struggles of work. Artists like myself who did a ba degree at art drawing. The fear and novelty of the life room also school were lucky enough to have the four long, wears off, and you realise how honored you are to have glorious years in the studio making work without too a model at your creative disposal. You quickly forget much pressure or intensity. The Drawing Year is not like about the rest of the room and everyone in it. that; it’s quick, it’s intense, it’s an incredibly snappy little year. If I had been told before I started the course The blessing of a free studio space is one of the just how much I would learn, the amount of drawings greatest aspects of the course. You are encouraged just (both good and bad) I would produce, and the number as much with the continuation and exploration of your of different environments I would find myself drawing own practice in your studio, whatever direction you are in, I don’t think I would have believed it. taking with your work, as you are in the courses at the school or out of house. The year may seem rather daunting, and indeed I certainly felt that way when I started. For someone I started by talking about time and its importance to an whose entire practice has always been completely based artist or any creative for that matter. The greatest thing on drawing it might seem rather odd that there were so The Drawing Year gave me was time. It afforded me the many aspects of The Drawing Year that made me feel time to learn new skills and techniques, to pick up nervous. valuable critique and opinions from many different tutors with varied practices, the year constantly took me At most art schools these days, life drawing or out of my comfort zone, and most importantly it gave observational drawing is not often taught, so the idea me time to let my own practice grow and my confidence of standing behind an easel in a large room, occupied in drawing increase. A year isn’t very long at all really, by many other people also standing behind easels, with but it was surprising just how much you can do, learn, a person in the middle of the room without clothes on pick up and experience in that short period of time. and a tutor pacing around looking at your work, seems an alien and terrifying prospect. There are many wonderful things about the Drawing Year, and I have come out with a renewed confidence On The Drawing Year you very quickly get used to and a far greater lust for drawing. drawing in large groups, you get used to drawing in public places, whether that be The National Gallery, Piccadilly Circus or Hyde Park. The fear of people looking over your shoulder to gawp at what you’re doing quickly goes away, instead you become totally absorbed and obsessed with drawing, the translation of putting what you see before you onto paper.

Seeing the variety of ways in which different people would draw, especially when drawing the same thing, made it clear that there were numerous valid ways to draw well. Joe Davis, alumnus STUDENT FUNDING, SCHOLARSHIPS AND BURSARIES

Full scholarships Grants and bursaries The Royal Drawing School is committed to offering an There are a number of grant-making trusts through alternative way to fund postgraduate education, which past Drawing Year students have had success helping students avoid significantly adding to their in obtaining extra funding, and the School will existing debt. Every applicant that is offered a place on support you as best it can in making these applications. The Drawing Year receives a full scholarship and has Students accepted on to the course may also apply for their tuition fees paid for the year; this does not have to modest bursaries each term, which are means-tested. be repaid. The scholarship covers all courses, tutorials, Should students find themselves in financial difficulty forums and lectures as well as some study trips and a during the term, there is a separate Hardship Fund that studio space. In addition, The Drawing Year offers a students can apply to for extra help with living significant amount of contact time with tutors as well expenses, travel and materials costs. as providing working opportunities for alumni after graduation. Discounts Drawing Year students receive discounts at most major The course is structured to allow students to work London art shops. Students also receive free entry to all part-time, in the evenings and at weekends, to assist Royal Academy exhibitions. them in covering their London living costs. In the past, students have also worked full time in the lead up to starting the course, allowing them to build up their savings. APPLYING

Requirements Overseas students Up to thirty applicants are selected each year. If you do not hold a UK or EU passport please visit Applicants will usually have completed a BA (Hons) our website prior to application to read our advice degree in Fine Art or a related subject, but this is not concerning overseas students, or contact us on essential; relevant experience or qualifications will 020 7613 8534 to discuss your eligibility for the be taken into account. programme.

Fees and bursaries Interviews All Drawing Year students are on a full scholarship After the application deadline, you can expect to hear and have their fees paid for the year. This includes from us within a month by email or letter, letting you courses, studio space, forums, lectures and study trips. know whether or not you have been shortlisted for Additionally, a number of bursaries are allocated to interview. During the interview, the panel will have your students each term on a means-tested basis to help with digital portfolio (which you will be required to bring living costs. Unlike a loan, these do not have to be paid in physical form), along with your sketchbooks and back. There is also a Hardship Fund that students can application form. You may also bring any additional apply to for extra help with living expenses, travel and images or sketchbooks that were not included in your materials costs should they run into financial original application to interview. Candidates will be difficulties. asked to talk about the role of drawing in their work and about the way they see The Drawing Year benefiting What to submit their practice. All interviewees can expect to be Assessment is based on the quality of work submitted contacted approximately a week following their and the interview. Prospective students should apply interview. online by following the links from the Postgraduate page on the website. The online application includes Open Days and University visits a written statement of no more than 1000 characters. Open days are held in December, January, February Your portfolio should be submitted online along with and March prior to application. Please visit the website your application form. You must upload 20 images or contact the office on 020 7613 8534 for up-to-date consisting of 10 drawings done in dry media, ink or details and to register. Student Ambassadors also make watercolour, plus 10 additional works in any medium. visits to various universities throughout the year. Their For full details of technical requirements please see our talks offer an invaluable insight into the course as well website. Animators may submit short video files as part as providing prospective students with the chance to of their additional works. ask questions. Contact the School to find out which universities our Ambassadors will be visiting. We also require all applicants to submit two sketch- books (maximum A3 size) to the School to support their digital portfolio. These should be submitted on the drop-off dates specified on the website. A handling fee of £25 is payable at the time of submitting the online application form.

The simplicity of The Drawing Year was very appealing. You spend a year drawing. Chris Green, alumnus

Relief print by Matthew Booker FREQUENTLY ASKED QUESTIONS

How much does it cost to study on The Drawing Year I don’t have a UK passport. Can I still apply? When can I expect to hear about my application? What qualification will I receive after finishing the year? at the Royal Drawing School? Possibly. The current guidelines for nationals of an EEA After the application deadline, you can expect to hear The Drawing Year is not a university accredited course, Nothing – all Drawing Year students are on a full country (European Union plus Iceland, Liechtenstein, from us within a month by email or letter, letting you so students do not receive a formal MA qualification. scholarship and have their fees paid for the year. This Norway or Switzerland) are changing; please check our know whether or not you have been shortlisted for All those who pass the year are awarded a postgraduate includes courses, studio space, forums, lectures and website for the most up to date details. interview. All interviewees can expect to be contacted diploma certificate, signed by the chair of our external study trips. Each year, a number of bursaries are approximately a week following their interview. It is assessment board, Eileen Cooper ra. allocated to students on a means-tested basis to help Nationals of all other countries: Since March 2009, the likely that you will know whether or not you have been with living costs. Unlike a loan, these do not have to be Royal Drawing School has not been able to sponsor offered a place on the Drawing Year by the end of May. Is it possible to stay on for further study at the end paid back. There is also a Hardship Fund that students students from outside the EEA. As an independent of The Drawing Year? can apply to for extra help with living expenses, travel school, we do not have a UK Border Agency Tier 4 Do you give feedback on Drawing Year applications? All Drawing Year students are now invited to stay on and materials costs should they run into financial License. However, there may be unusual circumstances We are unable to offer feedback on individual for a further three month studio residency following difficulties during the year. wherein non-EEA nationals are eligible for visas which applications. This is common practice across most the end of the year, as a springboard into professional do allow for study. It is the responsibility of interested of the UK’s major art schools. practice. In addition, alumni receive a discount of 50% I don’t have a BA in Fine Art. Can I still apply? applicants to check with local UK immigration on all courses at the Royal Drawing School, and are In addition to Fine Art, the Drawing Year recruits and authorities. For more info visit www.bia.homeoffice. I wasn’t accepted onto The Drawing Year. Can I still also offered a selection of free course places each term, accepts applicants from a wide range of creative fields gov.uk/studyingintheuk take classes at the School? to enable them to continue their observational - including Illustration, Design, Fashion, Architecture Yes. All courses (with the exception of Monday night drawing practice. We also regularly run free drawing and Animation. We also welcome applicants with How are Drawing Year applications assessed? masterclasses and the Wednesday night forum) are classes designed specifically for alumni. degrees in other subject areas as well as those with After the application deadline, every portfolio is open to the public, who pay to attend courses by term, equivalent professional experience or an otherwise reviewed by a panel of practising artists and critics. with a large number of concessions available. Term What do your students go on to do after strong portfolio of work. Ultimately, all applicants The panel make a shortlist of approximately 40 time courses run for ten weeks. The current schedule The Drawing Year? should show a commitment to drawing and a level of applicants who are subsequently invited to interview. is always available to view on the Public Courses page Most of our alumni are now practising fine artists artistic professionalism appropriate for study at MA During the interview, the panel will have your digital of our website. If you need help deciding which classes who regularly show and sell work or undertake level. portfolio (which you will be required to bring in would benefit you, we would be happy to advise you. commissions, many of whom also have gallery physical form to interview), along with your sketch- representation. Other students have gone on to What should I submit in my portfolio? books and application form. You may also bring Do students do written work as part of the course? professional practice in areas including illustration, Your portfolio should be submitted online along with any additional images or sketchbooks that were not There is no written component to the course. However, animation, architecture, film and theatre design. your application form. You must upload 20 images included in your original application to interview. students do sustain lively critical debate and are asked Alumni can apply to our free tutor training programme consisting of 10 drawings done in dry media, ink or to make a short presentation on a chosen artist to their with the Young Artists programme which offers serious, watercolour, plus 10 additional works in any medium. fellow students at some point during the year. sustained tutoring for children aged 10–18 with a For full details of technical requirements please see passion or aptitude for drawing. Many have used this our website. Animators may submit short video files as experience as a springboard into teaching both adults part of their additional ten works. We also require all and children. applicants to submit two sketchbooks to the School to support their digital portfolio. These should be submitted on the drop-off dates specified on the website.

83 TO DRAW A LINE IS FACULTY TO HAVE AN IDEA.

RICHARD SERRA Artistic Director Julian Bell was born in 1952. A self- Ewan Clayton is a calligrapher and Catherine Goodman is the Artistic employed painter throughout his adult lettering artist who lives and works Director of the Royal Drawing School, life, he has worked on pub signs, murals in Brighton, Sussex. He holds a part which she founded with HRH The and portraits alongside the narrative, time position as Professor in Design in 2000. Goodman panoramic compositions that have at the University of Sunderland. For studied at School of Art dominated his exhibitions. Since the twelve years he worked as a consult- and the Royal Academy Schools, where 1990s, he has also been teaching at ant to Xerox PARC, the research lab in she won the RA Gold Medal. In 2002 institutions including Goldsmiths, California that developed much of the Goodman won the National Portrait Camberwell and City & Guilds of digital technology underpinning the Gallery’s BP Portrait Award first prize. London , and writing about world of digital communications and Her solo exhibition, Catherine Goodman: art for journals such as the London mobile computing that we know today. Portraits from Life, was at the National Review of Books. In 1999 Thames & He grew up in and around a craft com- Portrait Gallery, June to November Hudson published his What is Painting? munity at Ditchling in Sussex founded 2014. Her most recent solo exhibition, Representation and Modern Art and in by Eric Gill. Ewan’s book The Golden the last house in the world, was held at 2007, Mirror of the World: A New History Thread, a history of writing, was from November of Art. published by Atlantic in 2013. 2016 to January 2017. She is represented by Marlborough Fine Art and currently Mark Cazalet attended Chelsea and Liza Dimbleby began drawing and lives and paints in London. Falmouth College of Art before being painting while studying in Russia in awarded two postgraduate scholarships, 1989, and she completed a doctorate on at L’Ecole des Beaux-arts, Paris and MS Russian Thought at the University of Academic Board University Baroda, West India. He has London in 1996. She has taught at the completed large-scale glass and painted Royal Drawing School since 2005 and Chair works for many ecclesiastical settings her book on walking and drawing in Linda Heathcoat-Amory is the Chair of including, Worcester, Manchester, and cities, I Live Here Now, was published in the Royal Drawing School’s Academic Chelmsford Cathedrals. Mark works 2008. Liza gives regular talks on Board and has also been a Trustee of the with fabricators in materials as varied drawing at universities and art schools School for 12 years. She was a student at as mosaic, mural, stained glass, etched/ in Scotland and London and has spoken Camberwell School of Arts and Crafts engraved glass, textiles, and lino/wood- at conferences in Glasgow, Moscow and and the . Linda cut limited edition books. Each year Paris. She exhibits regularly in Scotland is represented by the Jonathan Clark he also undertakes a small number of and London and lives and works in Gallery and lives and paints in London portraits. His studio practice is based Glasgow. and Scotland. She is also a Trustee of the around drawing, painting and print- Monument Trust. making, usually concerned with William Feaver, for many years the landscape themes, informed by art critic for The Observer, is also a particular qualities of light, colour painter and has been the curator of and presence. In the spring of 2012 exhibitions ranging from George and 2013 he was artist in residence at Cruikshank to the Tate retrospectives The Josef and Anni Albers Foundation of Michael Andrews and Lucian Freud in Connecticut. (the subject of his most recent book), and Constable (Grand Palais Paris, 2003). His book Pitmen Painters was adapted by Lee Hall for an award-laden play and he subsequently organised a related exhibition in Vienna. When We Were Young, a study of children’s book illustration, did particularly well in Japan. His book was 85 published in 2009. Prof. Eileen Hogan studied at Richard Ayodeji Ikhide studied Textile Faculty Claudia Carr studied at the Slade Johnny Dewe Mathews is interested Emily Haworth-Booth teaches courses Camberwell College of Arts, the Royal Design at , where School of Fine Art (ma Painting) and at in the visual complexity of the crowd; on comics and graphic novels at the Academy Schools and the Royal College he specialised in Printed Textiles. After Jeanette Barnes studied Fine Art at the Accademia di Belle Arte, Florence, figures seen in relation to one another Royal Drawing School and has run of Art. She is Professor in Fine Art and graduating, he felt the need to focus Liverpool Polytechnic and the RA Italy. She won the Winsor & Newton and their interaction with the space they workshops for adults and children at Theatre at CCW (Camberwell, Chelsea on his drawing skills, applying to The Schools and Printmaking at the Royal Young Artist of the Year Award in 1994, occupy. He is particularly interested venues including the , and Wimbledon colleges, University of Drawing Year to push his practice College of Art, and began to develop was finalist in the NatWest 90s Prize in places where people are working Hay Festival, St George’s Hospital, the the Arts London). She is a practicing further towards a fine art context. His large drawings concerned with the for Art and was awarded the Italian together, and individually, towards a National Art & Design Saturday Club, artist and has had one-person current work deals with the idea of dynamism of London. She has Government Scholarship and Boise common creative end such as the Momentum Project Newham and exhibitions regularly in London since creating a personal mythology and exhibited in various group and solo Travel Scholarship. Claudia lives and orchestras, kitchens and film sets. The Drawing Clubs. Emily won the 1989. Her series of paintings and related the importance of myth to modern shows in London including the Royal paints in London. She now holds As a teacher he aims to encourage Observer/Comica/Jonathan Cape work, inspired by Ian Hamilton Finlay’s man. Richard uses drawing to begin to Academy Summer Exhibition and the teaching posts at the Royal College of students not so much to draw things, Graphic Short Story Prize in 2013 and garden Little Sparta, was exhibited in express intangible ideas in a tangible, Jerwood Drawing Prize Exhibition. Art, Heatherley’s and the Royal Drawing but to be part of things, to capture was runner-up of the same prize in 2008. 2013 at the New Art Centre, Roche Court, material form. Jeanette is the recipient of various School. She has had solo shows at movement and to create a 'sense She has also performed stand-up Wiltshire and at the Fleming Collection, scholarships and prizes (most recently Jessica Carlisle, Browse and Darby and of place’ in their work. Johnny is a comedy at many London venues and London. In 2014, a section of the show Harry Parker grew up in Wiltshire and the Hugh Casson Drawing Prize at the Whitfield Fine Art, and mixed shows at self-taught artist who trained as an was a finalist in the 2007 Nivea Funny featured in Of Green Leaf, Bird, and completed a Foundation Degree at 2013 RA Summer exhibition) and is various galleries in London and New architect, then became a professional Women Awards. In 1998 she won the Flower: Artists’ Books and the Natural Falmouth College of Art before going represented in private, public and York. portrait photographer. Since 1980 has Young National Poetry Competition, World at the Yale Center for British Art. on to study History of Art at University corporate collections. Since 1990 she worked on projects throughout the before going on to study English Eileen is represented by Browse & Darby, College London, where he focussed has also taught part-time on the Royal Daniel Chatto studied English at Oxford world and has exhibited in Europe and Literature at Cambridge University. Her London. She is an advisor to and patron on post-1945 Abstract Expressionism. Academy of Arts Outreach programme. University and Art at The City & Guilds the USA. comics have appeared in the Observer of Mindroom, a charity for children with Harry joined the British Army when he School of Art. Daniel's work is founded and Miss Vogue and she is represented learning disabilities. was 23 and served in Iraq in 2007 and Sharon Beavan trained at Falmouth and in painting from life in a wide range of Ann Dowker is a painter, draughts- by the literary agency Johnson & Alcock. Afghanistan in 2009, before going on to the Royal College of Art. She won the media from fresco to oil, wax, egg, gum man and printmaker. She has taught at Timothy Hyman ra has exhibited work as a civil servant. He now works Cheltenham Open drawing Competition and glue tempera and he teaches the Chelsea School of Art, and Julie Held studied at Camberwell and widely, with ten London solo as a painter and writer, his first novel (1994) and was highly commended making and use of these traditional School of Art for 10 years, is a freelance the Royal Academy Schools. She has exhibitions, and paintings and Anatomy of a Soldier (2016) is published in the Eastern Open Art Competition paints in contemporary practice. He tutor at The National Gallery and has exhibited in group exhibitions at the drawings in many public collections, by Faber & Faber. (1996). Sharon has exhibited widely, shows at Long & Ryle in London. tutored at the Royal Drawing School Royal Academy Summer Exhibition, the including Arts Council , the most recently at the RA and in Visions since it was founded. She printed for Jerwood Drawing Prize, Threadneedle Royal Academy, The British Museum, Sarah Pickstone lives and works in of London at Michael Richardson’s Marcus Cornish gained a first class many years for and with Leon Kossoff Prize and internationally in solo shows Los Angeles County Museum, Deutsche London. In 2012 she won the John Artspace as well as in the Lynn Painter- honours degree in Sculpture from and was involved in the curating of in Prague, Hamburg and Leipzig as Bank and the British Council. He was Moores Painting prize, and was a Stainers prize in 2015, in Various Species Camberwell School of Art followed by his show at The National Gallery. Ann well as the UK. Her work is in a num- elected ra in 2011. Trained at the Slade runner up for the prize in 2004. Sarah selected by Graham Crowley in 2016, an MA from the Royal College of Art. has exhibited with Theo Waddington, ber of public collections including School of Fine Art, he has taught there studied at the Royal Academy Schools curated Short Stories, and a three woman In 1993 he was elected a member of the Angela Flowers, Art Space Gallery and Nuffield College, Oxford University; part- time since 1979, and in many and the University of Newcastle. She painting show at The Cut, Halesworth Royal Society of British Sculptors and is been in many mixed shows. She now Ben Uri Gallery and Museum; The other art schools including the RCA, St won the Rome prize for painting in 1991, in 2017. She taught for many years on the Vice President to the Society of Portrait works between London and Egypt. Ruth Brochard Collection; The Open Martins, and Glasgow School of Art. In spending a year at the British School at Foundation course at Byam Shaw School Sculptors. Cornish won a scholarship to University; Baker McKenzie Collection; 1979, he mounted the controversial Rome, which made a big impact on her of Art, on the Foundation courses of India to study the work of Ayanar Potter Robert Dukes studied at Grimsby New Hall College, Cambridge and touring exhibition Narrative Paintings; practice. In 2014 Daunt Books published Wimbledon School of Art, University of Priests and Henry Moore scholarships School of Art and the Slade. He paints St. Thomas Choir, Leipzig. Julie is he was lead curator for the Tate’s Stanley Park Notes, a book of Sarah’s paintings Hertfordshire, City & Guilds of London to pursue ceramic art. He was artist-in- mostly still-lifes. In addition to solo an elected member of the RWS, The Spencer retrospective in 2001, and co- and an anthology of collected writing. Art School, North Hertfordshire College, residence at the Museum of London exhibitions at Browse and Darby (2005 London Group, and The NEAC, winning curator (in Ghent, 2007) of British Vision. This publication followed The Writers and on the BA course at Kingston in 2005–2006 and at an Ibstock brick and 2008) he features regularly in the RA the Doreen Macintosh Prize in 2011. He has published monographs on Series, an exhibition in 2013 at the New University. factory for a year. Cornish’s work has Summer Show. He also lectures at The Bonnard and Sienese Painting (Thames Art Centre and then Other Stories at been recognised in a number of awards National Gallery. Sophie Herxheimer is an artist and and Hudson) as well as on the Indian CGP London 2017. As part of the Royal Sharon Brindle studied at Camberwell both nationally and internationally and poet. She’s held many residencies painter Bhupen Khakhar. His articles Academy 250 year celebrations in 2018, School of Arts and Crafts and has had covered in The Times, Independent and Henry Gibbons Guy is an alumnus of including for for the , have appeared in many journals, Sarah is making a painting installa- many solo shows in the UK as well as Sculpture Magazines. The Drawing Year, having previously The National Maritime Museum and including TLS, London Magazine, tion about the work of RA founding showing internationally in group studied Fine Art at Glasgow School of Transport for London. Exhibitions Burlington Magazine and Artscribe. member Angelica Kauffman. Sarah has exhibitions. She has been selected for Art. He was Print Room Technician at include The Whitworth, The Poetry In 2016 Thames and Hudson brought shown internationally, most recently in numerous portrait awards and was the Royal Drawing School for two years, Library and The National Portrait out his magnum opus, The World Shanghai, Seoul, Basel and Italy. shortlisted for the BP Portrait Award, and Lead Tutor for The Drawing Clubs Gallery. She has illustrated five fairy New Made; Figurative Painting in the receiving special commendation. for two years. He teaches at Central St tale collections, made several artists’ Twentieth Century. In 2007 he won the Martin Shortis studied at the Sharon lives and works locally in East Martins. Henry was a recipient of The books, and narrated an episode of BP Travel Award (work exhibited at NPG Ruskin and RA Schools, where he London. Ruth Davidson Memorial Award and BBC Radio 4’s Food Programme from 2008); and in 2011–12, he was Artist-in- concentrated on making large the Richard Ford Award, and has spent her Pie Days project in Margate. Her Residence for Maggie’s Cancer Caring commissioned drawings working on much time painting in France and poems have been widely published. She Centres (a selection shown at Royal the spot. He has taught since 1992 and Spain. His most recent solo London won first prize in the Poetry Book Fair Academy, and a related book published continues to draw outside and around exhibition presented work from the past Competition. Her new book Velkom to 2015). London. He is Head of Print with two years, paintings and drawings from Inklandt is Poetry Book of the Month in oversight of the school's etching Hampstead Heath. the Guardian/Observer. Sophie teaches studios. and collaborates extensively.

87 Francis Hoyland’s series of 35 James Lloyd studied Fine Art at Frances Mann is a painter and tutor. Orlando Mostyn Owen is a painter Cherry Pickles was born in Bridgend, Ivy Smith studied at Chelsea and Royal etchings about St Francis have recently Coventry University and the Slade She trained at Camberwell School of Art currently living in London. He South Wales, and took a degree in Academy Schools (RA Gold Medal). been acquired by the print room of The School of Fine Art. James has had and later worked as the assistant of her studied the Ecole Nationale Superieure mathematics in Northern Ireland before She has taught at the Royal Drawing British Museum. Since completing the various solo exhibitions at his husband, painter Sargy Mann. Her work des Beaux Arts in Paris, subsequently going on to study painting at Chelsea School since 2001. Ivy has work in series he has focused on religious galleries in London (Browse & Darby) is about visual experience recorded as frequenting Sebastian Matta and and the . Her many public collections including the paintings in the winter and in the and Frankfurt (Huebner & Huebner). truthfully and rigorously as possible. participating in Valerio Adami’s annual first job was artist-in-residence at St National Portrait Gallery, Graves Art summer he is a cat, garden and wife He has exhibited in many group She predominantly paints landscape summer colloquiums at the Fondazione Andrews University. She has taught Gallery Sheffield and Norwich Castle painter. Because he is working so much shows such as Being Present (Jerwood paintings, engaging with nature, space, del Disegno. He worked in Paris for ten at a number of Art Schools including Museum. Awards include winner of: with imagined figures he is hungry for Space, London, 2004), Direct Painting weather and light. Frances has shown years, exhibiting with Deborah Zafman Canterbury and Falmouth and was John Player Portrait Award 1986, Arts information. This has enabled him to (Kunsthalle Mannheim, 2004) and her work at Cadogan Contemporary and the Galerie Polad-Hardouin. His a senior lecturer at Cardiff. She has Council Grants for the Arts 2005. Public search diligently for information from Mythos Atelier (Staatsgalarie Stuttgart, Gallery in London and various work was described by Philip Roth as painted extensively in Jordan, Berlin, commissions include Sir Richard the model. This search has been 2012). James won the BP Portrait Award galleries in Suffolk. In the 2007 and 2008 ‘Savage in its own quiet way. Or quiet Italy, India, the USA and Greece. Her and Sir David Attenborough for the conducted in the company of his in 1997, the Discerning Eye in 2003 and Discerning Eye competitions she was in its own savage way’ and has received recent work has been based on time National Portrait Gallery and paintings students and he thinks it benefits both the Ondaatje Portrait Prize at the Royal a regional prizewinner. She has taught numerous prizes, amongst which the spent in Haiti and the Domincan for various hospitals. Her solo exhibi- parties. He believes that each talent Society of Portrait Painters Annual drawing at Camberwell as well as Prix de Dessin at the Academie des Republic where she has developed a tion Drawings for Paintings was shown is unique and that the needs of each Exhibition in 2008. He was commis- painting at the Centro Verrocchio Beaux Arts, the Prix de Peinture Paul long term working relationship with at the Cut, Halesworth in 2006 and student are different. His vocation as a sioned by the National Portrait Gallery in Italy, and life drawing in various Louis Weiller, and the prix Grace de the Altos de Chavon School of Art and the Royal Drawing School gallery in teacher is to empathise with and serve to paint Sir Paul Smith and Lord David privately run classes. She now runs Monaco in Monte-Carlo. He was a Design. Cherry exhibits in Athens, 2007. In 2010 two of her drawings were everyone. During his time as Course Simon in 1998 and Dame Maggie Smith private courses in perceptual painting representing Italian painter at the London, New York and West Wales. included in the exhibition Identity at the Director of Fine Art at Camberwell, he in 2012. He has also painted other high in Suffolk. Venice Biennale in 2011. He has Much of her painting involves Wellcome Collection. In 2012 her paint- worked with conceptual artists, which profile figures includingH M The Queen, exhibited extensively in Paris, Berlin self-portraiture, in part used to try to ing The Golden Wedding (collection enabled him to see his own position Lord Derry Irvine and Lord David Owen. Danny Markey was born in Cornwall, and London. position the viewer very precisely in Norwich Castle Museum) toured to the clearly and to respect other disciplines. 1965. Markey studied at Falmouth terms of both space and experience. The Millennium Gallery Sheffield and the Charlotte Mann is a British artist with School of Art and at Camberwell School Ishbel Myerscough studied at Glasgow way the mirror, the windscreen and the Laing Gallery Newcastle in the exhibi- Maggie Jennings works from her work in private collections around the of Art where he was awarded the Richard and the Slade School of Fine Art. She lens can enliven what we see is often tion Family Matters. Recent solo shows printmaking and painting studio in world. She is known for 1:1 scale black Chamberlain Memorial Prize. He is also won the BP Portrait Award in 1995 and central to the work. include New Work, Mercer Chance East London. Exuberant, colourful and line wall drawings. Working either on the winner of The South Bank Picture was subsequently commissioned to Gallery, London 2016 and Watery Places, vibrant, her work celebrates the energy existing walls or building the space Show. Markey has had regular solo paint Dame Helen Mirren and more Ian Rowlands was born in Liverpool Church St. Gallery, Saffron Walden of living things. She works with the herself, the physical presence of the exhibitions at the Redfern Gallery, and recently Sir Willard White. In 2015 the in 1959. He graduated with a BA Fine 2017. Recent participations include vigour and dynamism that she perceives surface the drawing is made on is an a retrospective of his work at the Old National Portrait Gallery had an Art from Norwich School of Art, before The Masters-Relief Prints 2016 and in the world around her to produce integral and essential element of the Jail Art Center in Texas. Markey has won exhibition of Ishbel and Chantal Joffe’s going on to the Royal Academy Schools The Masters-Intaglio Prints 2017, at strong sensuous images. All forms of work. The relationship between the prizes at open exhibitions, including work entitled, Friendship Portraits which where a rigorous approach to drawing Bankside Gallery, London. printmaking fascinate her, and she also figurative subject matter and sculptural The London Group Open Exhibition; detailed their long friendship and from observation was strongly encour- draws constantly in the form of a diary. presence of the surface of the drawing Discerning Eye; and at the Lynn Painter- centred around a self-portrait with Joffe aged. The primary focus of his work has Sophie de Stempel studied paint- Maggie has an ma in Printmaking from triggers the conceptual engagement Stainers Prize. In 2016, he was selected from the National Portrait Gallery centred on the complex architecture ing at the City and Guilds School of Chelsea School of Art and has taken around which her practice revolves. She for inclusion in Towards Night, a survey collection. Ishbel is represented by and landscape of the human head but Art followed by eight years working workshops in Namibia, Zimbabwe and studied Fashion Design at Central St show at Towner, Eastbourne, while his Flowers Gallery. more recently he has turned his gaze for Lucien Freud. She has exhibited Romania. She was Artist-in-Residence Martins and on graduating worked as a solo exhibition at the Redfern Gallery to the landscape. He has contributed at the Albemarle Gallery with Pippa at the University of Westminster fashion designer and stylist. Examples featured in the ‘Critic’s Choice’ Thomas Newbolt, who was born in 1951 to a number of publications including Houldsworth and also Rebecca Hossack. and received a Greek Government of her design work have been in an section of the Financial Times. and studied at Camberwell, has been The Observer Guide to Painting, and is She has been in mixed shows curated at Scholarship and a Scholarship to the exhibition at the Metropolitan Museum Examples of his work are in the British painting, exhibiting (in Britain, Italy the author of Life Drawing (Foundation the Sigmund Freud Museum. She works International University of Santa of Art New York and a dress she made Museum, London, and the Royal West and the USA) and teaching for many course). from life, drawings and memory, often Cruz, Canary Isles. She has work in for designer Russell Sage is part of the of England Academy, Bristol. years. He has lived in Italy and the USA. all in one picture to try and bring about national and international collections Victoria and Albert Museum archive. He exhibits at Piano Nobile Fine Art Ltd Melissa Scott-Miller studied at the Slade something imaginative and surprising. and her commissioned book, Fine Art In 2006 she gave up working in Daniel Miller studied at the Slade and lives in East Anglia. School of Fine Art from 1977–81. She was She has lived in France and Spain as well Screenprinting, was published in 2015. fashion to concentrate on her artwork. School of Fine Art and has painted born and lives in London and mainly as four years in Morroco, painting. Her collaborative book, Studio Sink As well as teaching at the Royal Drawing in both Europe and the US. Daniel has Andy Pankhurst studied and taught paints views of London and portraits. Poetry, came out in 2017. School she is an associate lecturer at had a book titled London Rites recently at the Slade School of Fine Art. He is a She was elected a member of the Royal Louise Sturgis trained at the Ruskin University of the Arts London, teaching acquired by the Prints & Drawings figurative painter with work represented Society of Portrait Painters in 1999 and School of Drawing and Fine Art, and at Camberwell, Chelsea and Central St department at the British Museum. in various public, corporate and private a member of the New Club The Royal Academy Schools where she Martins. Daniel is currently working collections and museums in the UK in 2009, and is currently the honourable won a Silver Medal for painting and a on a ‘Modern Bestiary’. and USA - he exhibits with Browse & secretary of the RP and archivist of the Norwegian Government scholarship to Darby, London. Andy is the co-author NEAC. Melissa has exhibited five times work for a year in Oslo. She has Harriet Miller studied at St Martin’s of What Makes Great Art (published by in the BP Portrait Award exhibition exhibited in London, Oxford, Oslo and School of Art and the RCA. She has won Apple Press, 2012), and continues to and frequently in the Royal Academy Bergen including in the BP Portrait several awards including the Berkeley be freelance tutor and lecturer for The Summer Show, as well as in many group Awards. She lives and works in Oxford Square Gallery Award. Over the last 20 National Portrait Gallery, London. and solo exhibitions in the USA and where her studio practice is years Harriet has exhibited in London UK. In 2008 she won the Lynn Painter- underpinned by drawing from life and and Europe and had a recent retrospec- Stainers prize. Other prizes include where she has taught for 16 years. tive entitled Studio Paintings 1989–2010 the Elizabeth Greenshield scholarship, at Swiss Cottage Library Gallery. Her Rodney Byrne scholarship, South Bank teaching experience includes lecturing Picture Show (1988), and Threadneedle in Fine Art at Reading University and exhibition (2012). De Montfort University. Dilip Sur studied Painting and Susan Wilson grew up in the Sculpture at the Government College mountain foothills of New Zealand’s of Art in Calcutta before completing South Island and roamed around Peru, his MA in Painting at the College of Bolivia and Ecuador in buses and EVERY DAY I AWAKE Art in New Delhi, India. Subsequently trucks as a young woman, which led to he continued his postgraduate educa- her love of Hispanic Art. She attended tion in Painting at Byam Shaw School Camberwell and Royal Academy of Art (UAL) in London. National and Schools and was a Fellow of Painting at international awards include the Cheltenham and Gloucester College of WITH THE IDEA, TODAY British Council Charles Wallace Trust Art and Technology in 1986. She held the Fellowship, the UNESCO Fellowship Richard Ford Award to Madrid (1986), at the European Ceramics Centre at Italian Govt Borso di Studio to Venice Den Bosch in the Netherlands, the and the Veneto (1985), and the Abbey Delfina Artist Residency in Spain, the Award British School at Rome (1993). I MUST TEACH MYSELF Kunstbrucke Artist Residency in Berlin, Susan taught at Chelsea School of Art and the Kakslauttanen Finnish Arts and Wolverhampton Polytechnic in Council Residency. Dilip has exhibited the 1990’s. She illustrated Katherine in the UK, the Netherlands, Germany, Mansfield’sShort Stories (Folio Society Poland, Belgium, South Korea and 2000) with a subsequent touring TO DRAW. India. Solo exhibitions include the exhibition in 2003. She has also Grosvenor Gallery in London, the Guild exhibited in Sketch at Rabley Drawing Gallery in Bombay, and The Schoo Centre and touring the UK in 2013, Gallery in Amsterdam. Sur collaborated Threadneedle Art Prize, Royal Academy with Mike Figgis on the project, Just Tell Summer Exhibition, Lynn Painter- The Truth, at the . Stainers Prize (Prizewinner 2007) and He has also spent the past five years col- won the National Portrait Gallery laborating with Kings College London Portrait Award in 1987. Susan is LEON KOSSOFF on Drawing Life. Dilip has been teach- represented by Browse and Darby. She ing Drawing at the Royal College of Art has work in public collections in UK and since 1996 and is currently teaching at NZ. Susan Wilson is currently working Imperial College and King’s College, on a portrait of Witi Ihimaera (author of London. The Whale Rider book and film.)

Charlotte Verity is a painter, her works come about slowly during many hours of intense looking and close observation. She is preoccupied by the changing nature of the visual world, natural light and the passing seasons. Her subjects are painted with a certain exactitude but her choice of imagery and handling of pictorial space together with her sense of colour give the finished paintings a resonance well beyond the things they depict. Since studying at the at the Slade School of Fine Art, she has exhibited extensively with the Anne Berthoud Gallery, Browse and Darby and more recently, with Purdy Hicks. She has had residencies at the Towner Art Gallery, The Garden Museum and Flatford in Suffolk. She has been teaching at the Royal Drawing School since 2001. Her work is in many public collections including University College London, MoCA San Diego, The Arts Council of Great Britain, The Garden Museum, Tate Education and Deutsche Bank.

91 OUR MISSION TRUSTEES, ASSESSMENT AND ACADEMIC BOARD

The Royal Drawing School is an independent, not-for- The Royal Drawing School runs over 250 different full Trustees Assessment Board profit resource that aims to raise the standard and and part-time drawing courses each year for adults Sir cbe, Chair Eileen Cooper ra, Chair profile of drawing through teaching and practice. and children of all ages and abilities. Alongside The Glenda Bailey Martin Clayton mvo fsa The Royal Drawing School is one of only a few institu- Drawing Year postgraduate programme and our public Stephen Davis, Treasurer Laura Cumming tions in the world offering in-depth, quality tuition in courses we offer a fine art foundation course, The Evy Hambro Sydney Picasso drawing from observation. Founded in 2000 by HRH Foundation Year, fully-funded international artists’ Bettina von Hase Linda Heathcoat-Amory Academic Board The Prince of Wales and artist Catherine Goodman residencies and a Young Artists programme for 10–18 Professor Eileen Hogan Linda Heathcoat-Amory, Chair as The Prince’s Drawing School, it became the Royal year-olds with an aptitude for drawing. Laura Lindsay Julian Bell Drawing School in 2014. The Hon. David Macmillan, Mark Cazalet Over 7,000 students have attended courses since Nancy Marks Ewan Clayton Drawing is fundamental to all aspects of learning 2000, and there are over 450 postgraduate alumni. ra Liza Dimbleby and thinking from childhood onwards. It is a crucial The Royal Drawing School operates studios in Matthew Rice William Feaver route to innovation across the creative disciplines and Shoreditch, and Trinity Buoy Wharf. Andrea Rose obe cmg Catherine Goodman beyond, from fashion, fine art and animation to film- The School also collaborates with a number of Dr Alexander Sturgis Prof. Eileen Hogan making, product design and engineering. For some institutions, allowing our students opportunities to Timothy Hyman ra people, drawing is the easiest way of thinking. draw at museums and galleries as well as in London’s HRH The Prince of Wales Richard Ayodeji Ikhide outdoor spaces. Royal Founding Patron Harry Parker Sarah Pickstone By offering tuition and resources to art students, artists, The Lady Sarah Chatto Martin Shortis children and the public, the School aims to address Vice President the permanent need for high-quality drawing teaching in the UK. Our courses are taught by a specialist faculty Catherine Goodman Artistic Director of over 75 practising artists, and we are committed to the continued training of future teachers of drawing. Julia Balchin Acting Director

93 CONTACT

Where to find us Tube Bicycle The School is a five-minute walk from There is no bicycle parking immedi- 19–22 Charlotte Road Old Street tube (Northern Line City ately outside the building. There are London EC2A 3SG Branch – leave the Station by exit 1 or racks further up Charlotte Road, on Old www.royaldrawingschool.org 2 on to Old Street south side), or a ten- Street, the top of Curtain Road and also twitter.com/RoyalDrawing minute walk from Liverpool Street. in Hoxton Square. It is advisable not instagram.com/ RoyalDrawingSchool to leave anything easily detachable or facebook.com/RoyalDrawingSchool Bus overnight. There are Barclays Cycle Hire 26, 35, 48, 149 and 242 run along docking stations on Shoreditch High Shoreditch High Street. Buses 43, 76, Street at the corner of Rivington Street. For more information please contact 141, 214 and 271 run along City Road Fraser Scarfe south of Old Street. Buses 55 and 243 Car Drawing Year Senior Manager run along Old Street. Car parking is extremely limited, but there is an NCP car park on Great Cat Madden Train Eastern Street. After 5.30pm and on Drawing Year Administrator The nearest mainline station is Saturdays street parking is free off T 020 7613 8534 Liverpool Street. Kings Cross and Shoreditch High Street near Arnold E [email protected] Euston are 2 and 3 stops away on the Circus. Northern line. There are also overland Disclaimer trains to Old Street and Moorgate, The information given in this publica- both within walking distance. tion is as far as possible accurate at the date of publication. The programme is subject to change without notice. Overground Accessibility The School is a five-minute walk from The School is fully accessible by Shoreditch High Street overground wheelchair. station.

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Photographs by Angela Moore, Richard Ivey, and Beck Belsham

Photograph of Christie's windows by Charles Gervais, photo- graph of Jessie Makinson installation © Thishappened.xyz, 95 photograph of HRH The Prince of Wales by Alan Shawcross Royal Drawing School ROYAL

DRAWING SCHOOL The Drawing Year THE DRAWING YEAR The Postgraduate Programme A full scholarship course

Royal Drawing School Enquiries 19–22 Charlotte Road T 020 7613 8534 twitter.com/RoyalDrawing London EC2A 3SG E [email protected] instagram.com/RoyalDrawingSchool Registered Charity 1101538 www.royaldrawingschool.org facebook.com/RoyalDrawingSchool