Life drawing, for me, has firstly involved the study of technique. Learning to use the instruments which are quill pen, reed pen, Chinese brush, red chalk, charcoal, pencil and seven tones of ink. This involves holding the instruments in seven different ways and incorporating several positions on the body - ie. articulated fingers, wrist, elbow. 

Relationship is central to the work. To oneself, the model, the istruments, one line or mark  with another and to the spaces. The study of form, line, harmony, rhythm and tonality. Expanding all the whle the repertoire of marks that can be made. Cecil Collins used to say "There is no point taming a sheep, find the lion and tame that."

When holding the instruments becomes more like second natue and there is no need to think too much about what the hands are doing, then one is free to relate to the feel of the model and the atmosphere of the pose. It as if the drawing does itself. Empathy is very important, to feel how the model feels, then hopefully enter into the mystery of creativity, by contemplating and drawing the human form and seeing the beauty that dwells within all.

You could say, it is more drawing from the heart than from the head, as if one sees with the heart. 

I shall be for ever grateul to the late Cecil Collins for introducing me to the traditional insturments, for his tuition and guidance.

Joint Figure Study
Jeremy Gale and Lily Corbett
reed pen, fingers and Chinese ink


The class studies the language of drawing, including tonality, harmony and rhythm, intervals, mark making and the visual energies. 

The instruments that we use are Chinese brushes and ink, reed pens, quill pens, pencils, charcoal and red chalk

Thursday mornings

10.00am - 1.00pm


Lily Corbett
reed pen, brush & Chinese ink


Figure Stretching
Lily Corbett
red chalk, Chinese ink wash & quill pen



Figure from Imagination
Sarah Jenkins & Lily Corbett
quill pen, brush, fingers & Chinese ink


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