The Prince's Drawing School

“If only one could
draw! I can’t.
That’s why I keep
on drawing.”
Alberto Giacometti

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

Why draw from
observation?
A personal statement by
Timothy Hyman, tutor
I have sent myself back to school ...
I am restarting my studies from the
beginning, from ABC ... so I shall have
to study drawing. I draw all the time ...
Pierre Bonnard
At some point between 1950 and
1980, most British art schools
abandoned the observational
drawing that had been at the centre
of all Western artists’ training for
at least 300 years. After the demise
of neoclassical values, plastercast
and nude model regimes had come
to seem irrelevant, often oppressive
and ritualised; “Slade drawing” was
characterised by Stanley Spencer as
“a disease”.
Nevertheless, by 2000 many artists
were aware of a lacuna in their
training, rendered more glaring by
the widespread renewal of figurative
imagery. Could one set up a drawing
school that took account of the
“de-skilling” inherent in twentiethcentury
modernism, that faced up
to the difficulties of representation
in our time, yet still offered an
intense engagement with perceptual
experience?
Bonnard’s definition of art as ‘The
Transcription of the Adventures of the
Optic Nerve” was one starting-point,
and his own story - throwing away
his camera, to embark on a lifelong
daily practice - seemed emblematic
of that “renewal by Drawing” enacted
by several more recent artists. In the
case of Philip Guston, for example,
Right Drawing by Jevan Watkins Jones (detail)

drawing answered to a “feeling of
needing to start again, with the
simplest of means, to clear the decks.”
Speaking personally, my own
principal reason for going out
drawing is to renew my sense of
space, of being-in-the-world; if I stop
drawing for several weeks, I find my
spatial invention goes dead, and my
art becomes schematic.
“I draw because
the specific - a
friend’s face, a
familiar street
- has appeared
before me as
a moment of
seeing, as an
epiphany, to
which I must
somehow
respond. ”
But I also draw because the specific - a
friend’s face, a familiar street - has
appeared before me as a moment of
seeing, as an epiphany, to which I
must somehow respond. And if we’re
fortunate, such a drawing can become
not a mere “sketch”, but a sign close
to embodied thought.
In the words of Josef Herman, “By
distancing itself from the physicality
of solid matter, drawing comes
closest to the actual working of the
mind.” Watteau spoke of “devoting
his morning to thoughts-in-redchalk”;
a young child told Marion
Milner a drawing was “a line around
a think”.
At the top of Gwen John’s list of
necessary qualities in art, she put
“The Strangeness”, and perceptual
drawing is a good route to the
unexpected. Its absence from most
recent surveys of “Drawing Today”
(including the Jerwood) results from
a misunderstanding - that such
drawings lack “concepts”. But I
value this mode of drawing precisely
for the challenge it presents to any
artworld “positioning”, for the radical
disinterestedness built into our
perceptual response.
When a drawing is going well, it
takes on its own momentum and
autonomy, free of all the baggage that
painting inevitably carries. It feels
“clean”.
So the utopian idea arises, of a
“Drawing Community”, pursuing
an open debate: through lectures
and forums, certainly, but above all
through all the variety of our very
different drawing procedures.
Left Sketchbook drawing by Asya Lukin

How the year is
structured
The courses
Every course offered at the School
is taught at postgraduate level by
distinguished artists and teachers
from leading institutions including
The Royal Academy, The Royal
College of Art and The Slade. We
are one of only a few institutions in
the world offering in-depth, quality
tuition for those who wish to develop
their observational drawing skills.
All classes, with the exception of
Monday night masterclasses and the
Wednesday night forum, are also
open to the public. This ensures a
healthy mixture of students from all
backgrounds who inspire, motivate
and learn from one another over the
course of each term.
Two days and one evening
The course is a full time postgraduate
programme. Students commit to
a minimum of two days a week
attendance at classes, and a
maxiumum of six days a week, for
which all fees are paid. In addition
they attend the forum and lecture
on Wednesday evening. Classes are
backed up by ongoing studio practice.
Three ten week terms
Each year consists of three ten week
terms, running from September until
the end of June. Students keep their
studio space in the Tea Building over
the summer following their final term
and continue to work unsupervised in
their own practice. The year officially
ends at the end of year exhibition in
late September.
Right Drawing by Coll McDonnell

The Drawing
School curriculum
Three areas of study
Our courses at the Drawing School
are divided into three main areas;
Drawing in the studio, Drawing from
art, and Drawing London. Students
are encouraged to explore all of these
as they complement each other and
contribute towards seeing, drawing
and learning in new ways. It is
recommended that Drawing Year
students attend courses from all three
study areas during their time here.
The following pages list examples
of the classes offered in the three
different study areas, however these
are subject to change each term.
For the most up to date programme
of courses offered visit our website
www.princesdrawingschool.org or ask
the office for a brochure for the term.
Drawing Year students may elect to
take the same class for three terms
running, or may change classes each
term to gain the broadest range of
experience and teaching input from
our diverse faculty and their varied
approaches to the art of drawing.
Left Drawing by Merlin Ramos (detail) Above Students drawing animals in Drawing the Unexpected in the Studio

Drawing in the
studio
In all great art, the human presence
predominates. Even in a landscape,
one feels it. Drawing from the model
familiarises us with our shape
and movement and encourages an
understanding of both. Few other
subjects offer such electricity and
energy.
John Lessore, tutor
Drawing in the studio courses:
Life Class
Life Drawing with Anatomy Lectures
Drawing the Unexpected in the Studio
The Body Clothed
Man and Beast
One Day One Pose
Life Drawing
Power in Motion
Drawing a Head
Above Student drawing a life model in the studio
Right Drawing by Rose Arbuthnott

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, tutor
Drawing from art courses:
Life Class
Drawing the Everyday in the City and
from Paintings in the National Gallery
Drawing at the British Museum
Evening Drawing at the National
Gallery (drop-in)
Left Drawing by Poppy Chancellor Above Student drawing from art in the National Gallery

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.
Drawing London courses:
Drawing the City by Night (Drawing
Year Masterclass)
Challenging Interiors
Drawing the Everyday in the City and
from Paintings in the National Gallery
Drawing London’s Different Faces
Drawing London’s River
Drawing in the Park
Timothy Hyman, tutor
Above Student drawing out and about in London Right Drawing by Richard Burton

Printmaking
In addition to the three main areas of
study, the Drawing School also offers
the opportunity for printmaking.
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.
which suit them. As well as bringing
pre-prepared drawings to work
from in the print room (located in
the basement at Charlotte Road),
students are encouraged to take
etching plates up to the life room to
draw onto directly.
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
Left Etching by Lucy Coggle
Above Student using the etching press in the print room

Forums, lectures
and films
Forums
Students attend the mandatory forum
on Wednesday evenings. The forum
is tutor-led and is an opportunity
for debate on aspects of drawing in
historical and contemporary contexts.
Students also give presentations on
their own work or area of research.
Lectures and talks
Following the forum each week is an
evening programme of talks and inconversations
with William Feaver
by contemporary artists, curators and
writers on art. Recent speakers have
included Bob and Roberta Smith,
Peter Blake, Tracey Emin, and Sara
Fanelli. Timothy Hyman also runs a
lecture series, with subjects including
Charlotte Salomon, artists’ maps,
Kitaj, Bonnard and Sienese Painting.
Artists on Film
Every spring term the Drawing School
shows a series of films about artists in
conjunction with the charity Artists
on Film. This is a rare opportunity
to see influential films on artists in
the company of leading filmmakers,
artists and critics. Screenings take
place at The Prince’s Drawing
School every Wednesday evening
for the last five weeks of the spring
term, introduced by a brief talk and
discussion by the director, artist or
critic. Past screenings have included
films on Hockney, Sickert, Alice Neel
and Chuck Close.
Right Students watching the Artists on Film series in the studio

Tutorials,
assessment and
exhibition
Tutorials
Drawing Year students have a
personal tutor and have two one-toone
tutorials per term. Tutors visit
students in their studio spaces at the
Tea Building to look at drawings and
other ongoing work, such as paintings
and prints. The School has a worldclass
faculty of distinguished tutors
who have taught, or currently teach
at art schools including the Slade,
Camberwell, the Royal College of
Art, Brighton, Chelsea and Glasgow
School of Art. All are practising artists.
There are also opportunities for
tutorials with visiting tutors. Recent
visiting tutors have included Andrzej
Jackowski, David Rayson, Deanna
Petherbridge and Sharon Beavan.
Assessment
Students receive an individual review
of their work each term with the
Artistic Director and another senior
member of the faculty. A group crit
is also held at the end of each term.
There is no written component to
the course. Postgraduate diplomas
are assessed and awarded by an
independent board chaired by Andrea
Rose, Director of Visual Arts at the
British Council.
Exhibition
An end of year show is held in
September and is well attended
by curators, collectors and critics.
Various prizes are awarded; these
have been sponsored by Winsor and
Newton and the Dover Street Arts
Club as well as private benefactors.
Left Drawing by Edward Coyle

Studios and
location
The Drawing School is located in a
converted warehouse in Shoreditch,
at the heart of East London’s art,
design and fashion scene. It is close
to galleries such as White Cube,
Rivington Place, Flowers East and the
Whitechapel Art Gallery, as well as
to the many new artist run spaces in
Bethnal Green, Hoxton and Hackney.
Studios are situated on the top floor
of the Tea Building on Shoreditch
High Street, home to galleries such as
Hales, Andrew Mummery and Rocket.
These are purpose-built, with natural
light, and accessible 24 hours a day,
7 days a week throughout the year,
including holiday periods.
Above and right The Tea Building Studio Overleaf Sketchbook drawing by Sophie Charalambous

Student stories
William Wyld
Drawing Year 2009-10
The faculty and students at the school
are the most discerning, intelligent
group of people I have worked with,
but most importanly there is huge
variation among them. I felt listless
and unchallenged for most of my
degree, and virtually stopped painting
afterwards.
I make my best work when I am
learning or inventing, which is what
the constant study of nature forces
me to do. The School trip to the
North Highlands was one of the most
exciting and productive seven days
of work I have ever done. Amazing
light, ever-changing weather and vast
amounts of dramatic, empty country
to explore. I am certain to return there.
Left Drawing by William Wyld (detail)
Above Student working outdoors in Scotland

Anna Ilsley
Drawing Year 2009-10
During my final year at Brighton
University I decided to get my drawing
up to scratch (I am a painter – for me,
drawing has everything to do with
good paintings). I began by going for
a coffee alone every day and drawing
whatever and whoever was in the
café. I always had a sketchbook on
me and by the end of the year I had
sketchbooks full of inconsequential
but dear moments, sitting round in
the pub with friends, eating breakfast
after a night out, commuters falling
asleep on the train… I didn’t stop
and in a way, didn’t dare stop – it
became a huge part of my everyday
life. Drawing always came with me – I
didn’t pencil it in – when you begin to
look, it is difficult to stop explaining
what you have found.
A couple of years later I took drawing
a stage further and in an investigation
of how my drawings and paintings
relate to one another in a non-literal
way, (I never paint directly from
drawings), I travelled from London
St Pancras overland to Bangladesh,
drawing the changing land from the
train window. The aim was to reach
the inhabited islands, or Chars, of
the Brahmaputra river, and draw this
desolate and flooded landscape.
I returned, applied to the drawing
school and have now completed
the Drawing Year and stayed on as a
second year artist-in-residence here.
The Drawing School has challenged
my work fundamentally and
habitually whilst illuminating the role
I see drawing having today. I have
found strength and stability in the
way that I use drawing to report on life
now, this second.
“I have
found strength
and stability in
the way that I use
drawing to report
on life now, this
second. ”
The year has enabled me to
continue on this path, of drawing
what is around me whether it be
extraordinary or not, but with many
new approaches. My ‘muscles’ are
stronger and I am able to do so much
more with what I am looking at.
Above and right Drawings by Anna Ilsley

Louise Yates
Drawing Year 2008-9
I read English at university; this fed
directly into my desire to become
a Children’s author and illustrator
and I now write and illustrate picture
books for Jonathan Cape (Random
House).
I applied to the Drawing School
after completing my first book. After
gearing my work to this career – to
young children, the book format
and reproduction process – this was
the earliest opportunity I felt I’d
had to fully re-engage with my nonillustrative
work since A-level and
it was becoming increasingly clear
that this freedom and development
is vital to me. The School places
particular emphasis on drawing
from observation and as I had been
working mostly from my imagination
for several years, I wanted and needed
to draw more from life.
I often ask myself ‘why am I drawing?’
This year made me struggle with this
question constantly - and underlying
it I think I’m really asking “what is
its purpose, why is it important: how
can I justify it?” I feel fortunate to be
doing something I love and it often
feels like an indulgence.
“...it is a way
of engaging
completely with
what you are
looking at”
I also wanted to explore my work in
a communal environment as I work
alone from home and I was beginning
to feel creatively isolated. The
Drawing School brings together and
focuses the efforts, abilities and time
of a great variety of individuals with
its one aim. It has been an intensive
source of the activity and common
purpose I was looking for.
Louise’s children’s book Dog Loves
Books (Jonathan Cape, 2010) won the
Roald Dahl Funny Prize 2010 for the
Funniest Book for Children Aged Six
and Under.
There is no one answer to the
question “why draw?” but I find it is
a way of engaging completely with
what you are looking at, a way of
experiencing things more vividly.
Left Drawing by Louise Yates Above Students and model in the Man and Beast class in the fourth floor studios

Clare Davidson
Drawing Year 2009-10
I joined the drawing year after nearly
ten years as a reporter and fourteen
years after leaving art college. I
had always kept a sketchbook and
regularly did life classes, but drawing
was something I tended to do on
my own. One of the main joys of
the drawing year was discovering
a community of people who were
engaged with the act of drawing and
felt it was important to draw as a
way to understand and respond to
the world around them. This was
in sharp contrast to my experience
doing a foundation in London, where
I was repeatedly asked “what is your
concept?”
The year affirmed my belief that
drawing was a valid activity in its
own right – not simply a precursor
to painting or any other form of fine
art. I learned that drawing was about
more than making a drawing; it was
also about seeing more and having a
richer vision.
The course underlined the
importance of looking hard and
rigorously at different subject matter
– be it a fleeting street scene or a
painting in the National Gallery. But
no tutor expected a particular style
of drawing. The emphasis on each
individual’s way of depicting their
experience ensured that we were able
to learn as much from each other’s
work as from the teachers. Learning
that there is no right way to draw has
been an invaluable lesson, though not
always easy to accept.
“Learning that
there is no
right way to
draw has been
an invaluable
lesson”
One the greatest challenges has been
realising that drawing is a seemingly
impossible task: creating a multi
dimensional world on a flat surface.
The thrill now comes in accepting
that I will never do the definitive
drawing. It is an ongoing journey of
seeing and responding.
While using my studio to paint I
am also etching regularly. I’ve been
helping teach one of the Drawing
Clubs and will soon be in India on
a teaching and art residency. In the
future I hope to gain a teaching
qualification and to show my work in
spaces other than galleries.
Above Drawing by Clare Davidson Right Drawing by Andrew Farmer

Other
opportunities
and resources
Drawing Year students benefit from
various opportunities during the
year. Every summer students spend
one or two weeks drawing and
painting alongside their tutors in
areas of outstanding natural beauty,
at locations including Holker Hall in
the Lake District, Château de Balleroy
in Normandy, Raveningham Hall in
Norfolk and the small fishing village
of Lybster in the Scottish Highlands.
These trips are heavily subsidised to
ensure that all students are able to
attend regardless of their financial
circumstances.
art library is available to students
at the School. In addition, students
have free access to all exhibitions at
the Royal Academy for the duration
of their course. They may also draw
in the historic life room at the
Royal Academy one evening a week.
Throughout the course, advice on
aspects of professional practice is
offered from visiting artists, curators,
private gallery owners and art dealers,
to prepare students for life as a
practising artist after the Drawing Year.
The School is fortunate enough to
enjoy unique access to the collections
of Old Master drawings at Chatsworth
and at Windsor and study trips to
draw from these collections are
undertaken during the year. A small
Left Drawing by Pippa Smith (detail) Above Student drawing at Château de Balleroy

Alumni, teaching
and professional
practice
The School has a vibrant network of
alumni who frequently collaborate on
projects and exhibitions.
Competitions for grants, residency
opportunities and commissions are
promoted through the School and we
also keep in touch regularly via our
alumni e-newsletter. There are many
opportunities for alumni to travel and
to participate in residencies around
the world. Recently four alumni were
sent to Modinagar in India on a sixweek
teaching and artists residency
programme, while others have been
invited to go on all-expenses-paid
drawing trips to Doha, Maastricht, St
Petersburg, Paris and New York.
Past students have won prestigious
awards such as the John Moores
and the Bulldog Bursary and have
exhibited in the Jerwood Drawing
Prize, BP Portrait Award and
Discerning Eye as well as regularly
showing work in London and further
afield.
There are also opportunities for
alumni to gain invaluable tutor
training and experience through
our Young Artists Programme which
runs after-school Drawing Clubs in
London and Glasgow. The Drawing
School actively creates and presents
opportunities for professional
development through teaching,
and many students have gone on
to qualify as teachers after gaining
experience as Drawing Club tutors.
Others hold positions as artists in
residence in schools, or have become
art educators working with museums
and local authorities.
Right Young artist drawing from the model at a Drawing Club

Applying
Requirements
Twenty-five applicants are selected
each year. Applicants will usually
have completed a BA (Hons) degree in
Fine Art or a related subject, but this
is not essential; relevant experience
or qualifications will be taken into
account.
Fees and bursaries
Successful applicants have their fees
paid and receive free studio space for
the duration of their course. There
are also some maintenance bursaries
available on application.
What to submit
Assessment is based on the quality
of work submitted and at interview.
Prospective students should submit
a completed application form,
including a written statement,
with a portfolio of ten drawings
showing a range of drawing interest
(drawing other than life drawing
is encouraged). Ten slides or jpegs
on a CD are requested showing
the applicant’s other work, in any
medium. Sketchbooks are also
welcomed, to a maximum of three. A
handling fee of £20 is payable.
Both pages Drawing by Hiroko Wakabayashi

Overseas students
If you do not hold a UK or EU
passport please visit our website
www.princesdrawingschool.org prior
to application to read our advice
concerning overseas students, or
contact the registrar on 020 7613
8522 to discuss your eligibility for the
programme.
Interviews
Shortlisted candidates will be asked
to interview, to which they can bring
further examples of their work and
any supporting material. They will be
asked to talk about the role of drawing
in their work. They will also be asked
about the way they see the Drawing
Year benefiting their practice.
Visiting the School
Open days are held in November,
January, February and March prior to
application. Please visit the school’s
website or contact the office on 020
7613 8522 for up-to-date details and
to register.

Frequently asked
questions
Q. How much does it cost to
study on the Drawing Year at
The Prince’s Drawing School?
Nothing - all twenty five Drawing Year
students have their fees paid for the
year and this includes classes, studio
space, forums and lectures and some
study trips. Each year, a number of
maintenance bursaries are allocated
to students on a means-tested basis
to help with living costs. There is
also a Hardship Fund that students
can apply to for extra help with
living expenses, travel and materials
costs should they run into financial
difficulties during the year.
Q. I don’t have a BA in Fine Art.
Can I still apply?
A BA in Fine Art is desirable, however
you are still encouraged to apply if
you have a degree in a related subject
along with a strong portfolio of work
showing a commitment to drawing.
Q. What is the biggest size of
portfolio I can submit?
There is no size limit for applications
however your submission must fit
inside a solid, fully sealed portfolio
that will protect your work while it is
with us. Your portfolio should contain
10 drawings, 3 sketchbooks, an
application form and fee and one CD/
DVD only. Please do not include glass,
metal or wooden objects/plates or
other heavy objects such as paintings
on canvas in your portfolio.
Q. I don’t have a UK passport.
Can I still apply?
Possibly. Regulations change
frequently, so if you do not hold a
UK or EU passport, for the most up
to date information please visit our
website www.princesdrawingschool.
org prior to application, or contact the
registrar on 020 7613 8522 to discuss
your eligibility for the programme.
Q. How are Drawing Year
applications assessed?
After the application deadline,
every portfolio is reviewed by a
panel of practising artists and
critics. The panel make a shortlist
of approximately 35-40 applicants
who are subsequently invited to
interview. During the interview the
panel will have your portfolio and
application form and will also look at
any additional images or sketchbooks
that you bring on the day.
Left Drawing by Jessica Poole

Q. When can I expect to hear
about my application?
After the application deadline you
can expect to hear from us within
a month by email or letter, letting
you know whether or not you have
been shortlisted for interview.
All interviewees can expect to be
contacted within a week following
their interview. It is likely that you will
know whether or not you have been
offered a place on the Drawing Year by
the end of May at the latest.
Q. Do you give feedback on
Drawing Year applications?
We are unable to offer feedback
on individual applications. This is
common practice across most of the
UK’s major art schools.
Q. I wasn’t accepted on to the
Drawing Year. Can I still take
classes at the School?
Yes. All classes (with the exception
of Monday night masterclasses and
the Wednesday night forum) are
open to the public, who pay to attend
courses by term, with a large number
of concessions available. The current
class schedule is always available
to view on our website at www.
princesdrawingschool.org . If you need
help deciding which classes would
benefit you, we will be happy to advise
you.
Q. Do students do written work
as part of the course?
There is no written component to the
course. However, students do sustain
a lively critical debate and are asked
to make a short presentation on a
chosen artist to their fellow students
at some point during the year.
Q. What qualification will I
receive after finishing the Year?
The Drawing Year is not a university
accredited course, so students do not
receive a formal MA qualification.
However, all those who pass the year
are awarded a postgraduate diploma
certificate, signed by Andrea Rose,
Director of Visual Arts at the British
Council and chair of our external
assessment board.
Q. Is it possible to stay on and
study for a second year?
Currently we are not running a second
year, however sometimes we are able
to make provision for students to stay
on in the Tea Building studio for a
further year as ‘artists in residence’ to
help them establish their practice.
Q. What do your students go on
to do after the Drawing Year?
Most of our alumni are now practising
fine artists who regularly show and
sell work or undertake commissions,
and many of whom also have gallery
representation. We are also able to
offer our alumni the opportunity
to gain experience tutoring on our
after-school Drawing Clubs for
young people via our Young Artists
Programme. Many have used this
experience as a springboard into
teaching both adults and children.
Right Drawing by James Mack

Faculty
Jeanette Barnes
Jeanette Barnes studied fine art at
Liverpool Polytechnic and at the RA
Schools as well as Printmaking at
the Royal College of Art and began
to develop large drawings concerned
with the dynamism of London. Since
1990 she has also taught part-time on
the Royal Academy of Arts Outreach
programme. She exhibits in various
group shows in London and is
represented in private, public and
corporate collections.
Sharon Brindle
Sharon Brindle studied at Camberwell
School of Arts and Crafts and has
many solo shows in the UK as well
as showing internationally in group
exhibitions. She has been selected for
numerous Portrait Awards and was
shortlisted for the BP Portrait award,
receiving special commendation.
Sharon lives and works locally in East
London.
Claudia Carr
Claudia Carr studied at the Slade
School of Fine Art (MA Painting)
and at the Academia di Belle Arte,
Florence, Italy. She won the Winsor
& Newton Young Artist of the Year
Award in 1994, was finalist in the
NatWest 90’s Prize for Art and was
awarded the Italian Government
Scholarship and Boise Travel
Scholarship. Claudia lives and paints
in London. She is a visiting lecturer at
the Heatherly School of Fine Art and
the Slade School of Fine Art, London.
Marcus Cornish
Marcus Cornish gained a first class
honours degree in Sculpture from
Camberwell School of Art followed by
an MA from the Royal College of Art.
In 1993 he was elected a member of
the Royal Society of British Sculptors.
Cornish won a scholarship to India
to study the work of Ayanar Potter
Priests and Henry Moore scholarships
to pursue ceramic art. He was
artist-in-residence at the Museum
of London in 2005 – 2006 and at
an Ibstock brick factory for a year.
Cornish’s work has been recognised
in a number of awards both nationally
and internationally and covered
in The Times, Independent and
Sculpture Magazines.
Mark Cazalet
Mark Cazalet was born and continues
to work in London. He was highly
influenced by the two postgraduate
scholarships he held in Paris and
India, accounting for his wide range
of media from printed books to
engraved glass, tapestry and murals.
Drawing is very much the key to his
principle practice as a painter and
printmaker. Travel to West Africa and
the Middle East have provided recent
inspiration as well as the streets of
London. He currently teaches at West
Dean College and University of West
England, Bristol.

Johnny Dewe Mathews
Johnny Dewe Mathews is fascinated
with the visual complexity of the
crowd - figures seen in relation to one
another and the space they occupy.
Since the early 1980’s he has drawn
extensively in restaurant kitchens,
jazz clubs, concert halls and film sets.
He has worked in Southern Europe,
India, Indonesia, Brazil and the USA.
Liza Dimbleby
Liza Dimbleby is an artist and writer
who has lived in Moscow, Glasgow
and London and has been drawing in
all of these cities, by day and night,
over the past twenty years. She has
published a book by Firework on
walking and drawing in Moscow,
London and Glasgow called I Live
Here Now. She exhibits regularly in
Scotland and London.
Robert Dukes
Robert Dukes studied at Grimsby
School of Art and the Slade. He paints
mostly still-lifes. In addition to solo
exhibitions at Browse and Darby
(2005 and 2008) he features regularly
in the RA Summer Show. He also
lectures at the National Gallery.
Ann Dowker
Ann Dowker is a painter, draughtsman
and printmaker. She has taught
at Chelsea School of Art and the Byam
Shaw School of Art for 10 years, is a
freelance tutor at the National Gallery
and has tutored at The Prince’s
Drawing School since it was founded.
She printed for many years for and
with Leon Kossoff and was involved
in the curating of his show at the
National Gallery. Ann has exhibited
with Theo Waddington, Angela
Flowers, Art Space Gallery and been
in many mixed shows. She now works
between London and Egypt.
William Feaver
William Feaver, for many years the
art critic for The Observer is also a
painter and has been the curator of
exhibitions ranging from George
Cruikshank to the Tate retrospectives
of Michael Andrews and Lucian
Freud (subject of his most recent
book), Constable (Grand Palais Paris
2003). His book ‘Pitmen Painters’ was
recently adapted by Lee Hall for an
award-laden play and he is at present
organising a related exhibition in
Vienna. ‘When We Were Young’, a
study of children’s book illustration,
did particularly well in Japan. His
‘Frank Auerbach’ was published in
2009.
Thomas Gosebruch
Thomas Gosebruch was born in 1951,
he studied painting at Hochschule
fuer Bildende Kunst Hamburg and
the RCA London, printmaking at the
Hochschule fuer bildende Kuenste
Braunschweig (Meisterschueler)
and ceramics (diploma) at City Lit
London. He works with drawing and
sculpture. Two series of his etchings
are in the collections of the British
Museum, the Victoria & Albert and
several German museums. His most
recent one man show was at Galerie
Kleindienst, Leipzig 2004. Previous
teaching posts have been at Newcastle
University, Winchester School of Art

and University of Nigeria, Nsukka. He
is currently teaching at The National
Gallery, The Courtauld Institute of Art
and City Lit.
Paul Gopal-Chowdhury
Paul Gopal-Chowdhury studied at
the Slade, was artist in residence in
Cambridge, previously a Gregory
Fellow in Leeds University. He taught
at Chelsea School of Art and the Byam
Shaw School of Art for 12 years. He
has exhibited widely and is currently
represented by Art Space Gallery,
London.
Henry Gibbons Guy
Henry Gibbons Guy is an alumnus
from the Drawing School’s
postgraduate programme, having
been Print Room Technician for two
years, and Lead Tutor for Drawing
Clubs for two years. Henry now
joins the public programme faculty,
teaching the new course ‘Man and
Beast’. He also continues to teach on
the Young Artist Programme.
Catherine Goodman
Catherine Goodman is the Artistic
Director of The Prince’s Drawing
School, which founded with HRH The
Prince of Wales in 2000. Catherine
studied at Camberwell School of Art
and the Royal Academy Schools. She
has shown her work across the UK
and was awarded the BP portrait first
prize in 2002. Her portrait of Dame
Cicely Saunders was reproduced as
a Royal Mail stamp in 2006. She is
represented by Marlborough Fine
Arts and currently lives and paints in
London and India.
Oona Grimes
Oona Grimes studied at Norwich
School of Art 1982–86 Fine Art BA
Hons and Slade School of Fine Art
1986–88 Higher Diploma. Her work
is in collections including New York
Public Library, USA, Manchester
Metropolitan, University College
London Strang Collection, The
Governing Body of Macau, Lineker
College Oxford University and the
Victoria & Albert Museum, London.
Recent exhibitions include Celeste
Art Prize, London 2006, Outdoors
at Danielle Arnaud Gallery, 2006
Peche a la Ligne, Brittany, 2006
Artfutures, Bloomberg 2005, Keeping
Up Appearances: London College
of Communications, 2005 and the
Jerwood Drawing Prize: 2002, 2005.
Emily Haworth-Booth
Emily Haworth-Booth read English
Literature at Cambridge University,
and has since developed her broad
practice combining word and image
while working at the Brodsky Center
for Innovative Print and Paper in
New Jersey, the Fabric Workshop
and Museum in Philadelphia, and
graphic design studios in New York
and London. She has written and
performed stand-up comedy at many
London venues and was a finalist in
the 2007 Nivea Funny Women Awards.
She now draws her own comics and
was runner-up in the 2008 Observer/
Jonathan Cape Graphic Short Story
Prize. Emily is also a campaigner on
sustainability issues and is currently
working on a graphic novel about
climate change and environmental
activism.

Julie Held
Julie Held studied at Camberwell
and the Royal Academy Schools. She
has exhibited in group exhibitions
at the The Royal Academy Summer
Exhibition London, The London
Group Annual Exhibition, London;
and The Jerwood Drawing Prize
at Flowers Central, London and
the Barbican, London as well as
internationally including The Frank
Kafka Gallery, Prague. Her work is
held by a number of public collections
including Nuffield College, Oxford
University, England, Ben Uri Art
Society Collection, London and New
Hall, Cambridge. Julie is an elected
member at the RWS, The London
Group and The Brandler Prize.
Francis Hoyland
For the last thirteen months Francis
Hoyland has been making etchings
about St Francis. One set has been
requested by the printroom of the
British Museum. Because he is
working so much with imagined
figures he is hungry for information.
This has enabled him to search
diligently for information from
the model. This search has been
conducted in the company of his
students and he thinks it benefits
both parties. He believes that
each talent is unique and that the
needs of each student are different.
His vocation as a teacher is to
empathise with everyone. During
his time as Course Director of Fine
Art at Camberwell, he worked with
conceptual artists, which enabled
him to see his own position clearly
and to respect other disciplines.
Timothy Hyman
Timothy Hyman is a painter and
writer. Having trained at the Slade,
he has had nine London solo
exhibitions, with his latest show
at Austin/Desmond in October
2009. His work is in many public
collections, including Arts Council,
Brisitsh Museum, and the Museum
of London. He has published
monographs on ‘Bonnard’ and
‘Sienese Painting’ (both Thames and
Hudson) as well as on the Indian
painter ‘Bhupan Khakhar’. In 2001
he curated the Tate’s Stanley Spencer
retrospective, and collaborated on the
large survey ‘British Vision’at Ghent
(2007-2008).
Lawrence Jenkins
Lawrence Jenkins is a painter, etcher
and master printer working in Kent
and northern France. Lawrence sees
drawing and painting as a way of
permanently preserving precious
visual experience. He has work in
Royal Collections and his many
commissions record events and
places. Lawrence taught etching at
the Royal Academy for many years and
developed their etching facility. Since
1985 he has had his own etching
studio at Seal Chart in Kent where he
prints editions for other artists and
works on his painting and prints. He
is currently developing an etching
studio in France where he spends his
summer building, painting, printing,
and gardening.
Maggie Jennings
Maggie Jennings is an artist based in
North London. Exuberant, colourful

and vibrant, her work celebrates the
energy of living things. She works
with the vigour and dynamism that
she perceives in the world around her
to produce strong sensuous images
that glow, breathe and proclaim their
existence with a sense of certainty and
pleasure. She has taken workshops
in Namibia, Zimbabwe, Romania,
and featured in “Art for Sale” for The
Guardian newspaper. Maggie held
a residency in computer imaging
at London Print Studio: Artist in
Residence, University of Westminster
and received a Greek Government
Scholarship. Internationale de Santa
Cruz, Canary Isles. She has work in
National & International Collections.
She is represented by the Rebecca
Hossack Gallery, London W1.
Tarka Kings
Tarka Kings works from her studio
in London, she trained at the RA
Schools. Since then she has had many
shows in the UK and recently finished
a large scale Gouache landscape for
Frank Gehrys award winning building
in Dundee. All her work is painted
from life.
John Lessore
John Lessore grew up in a family of
practising artists. He went to the
Slade from 1957 to 1961, and then
to Italy on a travelling scholarship.
He was a co-founder of The Prince’s
Drawing School in 2000 and has been
a trustee of the National Gallery,
London, since 2003. His work is in
many private and public collections.
Charlotte Mann
Charlotte Mann is an artist known for
her life-sized drawings of rooms: wall
drawings and installations of rooms.
She was born in London where she
currently lives and works. She is
an Associate Lecturer at Central St
Martin’s College of Art and Design,
Chelsea College of Art and Design and
Camberwell College of Art, for whom
she also curates a film program held
at the Vue Cinema Leicester Square.
Frances Mann
After reading French at Kent
University Frances Mann went to
Camberwell School of Art to do a
BA in Textiles with painting as a
subsidiary subject. She later taught
drawing and the history of drawing
materials in the Conservation and
History of Drawing departments.
After moving to Suffolk in 1990
she has mainly painted landscape,
running occasional landscape
painting and life drawing classes.
Daniel Miller
Daniel Miller studied at The Slade
and has painted in both Europe and
the US. Daniel has had a book titled
‘London Rites’ recently acquired by
the Prints & Drawings department
at the British Museum. Daniel is
currently working on a ‘Modern
Bestiary’.
Harriet Miller
Harriet Miller studied at St Martin’s
School of Art and the RCA. She has
won several awards including the
Berkeley Square Gallery Award.

Over the last 20 years Harriet has
exhibited in London and Europe. Her
teaching experience includes Reading
University as a lecturer in Fine Art and
De Montfort University.
Thomas Newbolt
Thomas Newbolt, who was born in
1951 and studied at Camberwell, has
been painting, exhibiting (in Britain
and the USA) and teaching for many
years. He has lived in Italy and the
USA. He exhibits at Piano Nobile Fine
Art Ltd and lives in East Anglia.
Humphrey Ocean
In 1984 Humphrey Ocean painted
a portrait of Philip Larkin for the
National Portrait Gallery described by
Nick Hornby as ‘unanswerable’. Four
years later he went to Northern Brazil
with the American anthropologist
Stephen Nugent and their book ‘Big
Mouth: The Amazon Speaks’ was
published by Fourth Estate in 1990.
He was elected a Royal Academician
in 2004. Exhibitions include ‘Double-
Portrait’ at Tate Liverpool 1992,
‘urbasuburba’ with Jock McFadyen at
The Whitworth Art Gallery 1997, ‘The
Painter’s Eye’ with John Tchalenko,
National Portrait Gallery 1999, ‘how’s
my driving’ at Dulwich Picture Gallery
2003 and ‘Humphrey Ocean Perfectly
Ordinary’ at Sidney Cooper Gallery,
Canterbury Christ Church University
2009.
Andy Pankhurst
Andy Pankhurst studied and
taught at the Slade School of Fine
Art. A figurative painter with work
represented in various public,
corporate and private collections
and museums in the UK and USA.
Exhibits with Browse & Darby in
London with his most recent show of
paintings and drawings in November
2008. ‘“Models, set ups and ideas,
normally without narrative, come
about by chance and fate, of course
to me inspiring and beautiful. In the
attempt to manifest these sensations,
my concerns are formal and
analytical, always striving towards the
beauty that is right.”
Andrew Ratcliffe
Andrew Ratcliffe is a figurative
painter, predominantly concerned
with painting and drawing the
figure from life. He has exhibited
extensively in Britain and abroad
including the National Portrait
Gallery and has been a John Moores
prizewinner. The first commissioned
work he did was of the Prince of
Wales, and he has done several more
of him over the years. He has work in
many private and public collections
around the world. Combining
painting with being a professional
musician, he has collaborated on
numerous combined arts projects
with dancers, musicians and
performing artists. He has worked
as artist in residence in schools,
colleges, galleries, libraries and other
community spaces throughout the
country.
Martin Shortis
In addition to teaching, Martin
Shortis is in charge of The Prince’s
Drawing Schools etching studio. He

studied at the Ruskin and RA Schools.
He concentrated on making large
commissioned drawings working on
the spot. He has taught since 1992
and continues to draw outside and
around London.
Ivy Smith
Ivy Smith studied at Chelsea and
Royal Academy Schools (RA Gold
Medal). She has taught at The Prince’s
Drawing School since 2001. She has
work in many public collections
including the National Portrait
Gallery, Graves Art Gallery Sheffield,
Norwich Castle Museum. Awards
include winner: John Player Portrait
Award 1986, Arts Council Grants for
the Arts 2005. Public commissions
include Sir Richard and Sir David
Attenborough for National Portrait
Gallery 198 and paintings for various
hospitals. Her solo exhibition
‘Drawings for Paintings’ was shown
at the Cut, Halesworth in 2006 and
the Prince’s Drawing School gallery
in 2007. In 2010 two of her drawings
were included in the exhibition
‘Identity’ at the Wellcome Collection.
Sophie de Stempel
Sophie de Stempel studied painting
at the City and Guild School of Art
followed by eight years working for
Lucien Freud. She has exhibited at
the Albemarle Gallery with Pippa
Houldsworth and also Rebecca
Hossack. She has been in mixed
shows curated at the Sigmund
Freud Museum. She works from
life, drawings and memory, often
all in one picture to try and bring
about something imaginative and
surprising . She has lived in France
and Spain as well as four years in
Morroco, painting.
Glenn Sujo
Glenn Sujo has taught in art
colleges and universities in Britain,
US and Israel, since 1976 and,
more recently, as Convenor of the
Drawing Symposium and ‘mindspirit-body-matter:
drawn to the
human’ workshops at Kettle’s Yard,
University of Cambridge. As Paul
Mellon Research Fellow in 1993-4 he
was author and curator of Drawing
on these Shores, A View of British
Drawing and its Affinities (national
tour). The work of memory and
the imagination in internment are
the subjects of his book Legacies
of Silence: The Visual Arts and
Holocaust Memory, (Imperial
War Museum, 2001) and doctoral
dissertation Disseminating Memory:
Lines Across an Abyss (Courtauld
Institute, 2009). Sujo’s works
have been acquired by The British
Museum, Victoria & Albert Museum,
Fitzwilliam Museum, Cecil Higgins
Art Gallery; Metropolitan Museum of
Art and Jewish Museum, New York;
Israel Museum, Jerusalem; Tel Aviv
Museum of Art; Galería Nacional and
Museo de Bellas Artes, Caracas.
Charlotte Verity
Charlotte Verity studied at the
Slade from 1973-77 under William
Coldstream, Lawrence Gowing,
Patrick George, Noel Forster and
Euan Uglow amongst others. She has
had several solo shows with Anne
Berthoud and more recently with

Browse and Darby. She has been
included in many group exhibtions
including The Whitechapel Open, The
Hayward Annual, John Moores, The
Royal Academy Summer Exhibition
and at the LA Louver Gallery in
California. Her work is in many
private and corporate collections.
She has been teaching at The Prince’s
Drawing School since 2001. For 2010
Charlotte is the Artist in Residence at
The Garden Museum, London.
Greg Ward
Greg Ward studied at the Byam Shaw
School of Art and at the Slade. As
a student and for a long time after
leaving art school he painted solely
from direct observation, but in recent
years has been more concerned with
making “constructed” paintings. He
continues to work from life which
informs all his work.
Duncan Wood
Duncan Wood has taught fine art
for over fifteen years at institutions
including The University of London
and The Royal Academy Schools. His
paintings are homages to particular
aspects of the first-hand visible
world of landscape, still life and the
figure, and sometimes, as with his
recent and ongoing ‘Trunk Series‘, a
mixture of all three genres. They also
contain layers of past visual memory.
Recent exhibitions include, ‘Atlantic’,
Fosterart Ltd, in association with
The Howard-Scott Gallery, New York,
2004; Three-Man exhibition, Browse
& Darby, 2007; Buxton Art Gallery,
2008; The Threadneedle Prize, 2008.
He lives and works in London and
Derbyshire and is represented by
Browse & Darby.
Susan Wilson
Susan Wilson grew up in the
mountain foothills of New Zealand’s
South Island and roamed around
Peru, Bolivia and Ecuador in buses
and trucks as a young woman. She
held the Richard Ford Award to Spain
Madrid (1986), Italian Govt Borso di
Studio to Venice & the Veneto (1985),
and the Abbey Award British School at
Rome (1993). Susan taught at Chelsea
School of Art and Wolverhampton
Polytechnic in the 1990’s. She
illustrated Katherine Mansfield’s
Short Stories (Folio Society 2000)
with a subsequent touring exhibition
in 2003.” Susan is represented by
Browse and Darby has work in public
collections in UK and NZ.
Above Drawing by Oliver Bedeman

Our mission
The mission of the Prince’s Drawing
School is to raise the standard
and profile of drawing in teaching
and practice. It is one of only a few
institutions in the world offering indepth,
quality tuition for those who
wish to develop their observational
drawing skills.
As well as the Drawing Year, the
School runs a broad range of
affordable public courses designed
for both professional artists and other
interested adults, including classes
in the life room, in museums and
galleries and in the streets and parks
of London. Over 6,000 students have
attended classes since 2000; there are
over 200 alumni of the Postgraduate
Programme.
in the United Kingdom, raising over
£100 million annually.
The organisations are active across
a broad range of areas including
opportunity and enterprise, the built
environment, responsible business,
education and health. The charities
reflect The Prince of Wales’ longterm
and innovative perspective and
seek to address areas of previously
unmet need. To find out more visit
The Prince’s Charities Community
website at http://princescharities.org
The School is also committed to
making it possible for every child with
an interest or aptitude for drawing to
achieve their potential. The School
provides serious, sustained tuition
for children age 10-14, from all
backgrounds, through affordable
programmes which are provided
when and where it works for students.
The Drawing School is one of the
Prince’s Charities, a group of notfor-profit
organisations of which The
Prince of Wales is President: 18 of the
20 charities were founded personally
by The Prince. The group is the largest
multi-cause charitable enterprise
Above The old warehouse building at Charlotte Road

Trustees,
Assessment and
Academic Board
Catherine Goodman, Artistic Director
Mark Chester, Executive Director
Trustees
Duncan Robinson, Chairman
Shankara Angadi
Lady Bacon
Christopher Balfour
Charles Booth Clibborn
Nina Campbell
Linda Heathcoat Amory
Katrin Henkel
Christopher Le Brun
Nancy Marks
Julie Nicholls
Marie-Christine Poulain
Felix Robyns
The Dowager Viscountess
Rothermere
Charles Saumarez Smith
Baroness Ullens
Assessment Board
Andrea Rose, Chair
Charles Booth Clibborn
Ivor Braka
Andrew Stahl
Academic Board
Christopher Le Brun, Chairman
Susan Bacon
Liza Dimbleby
William Feaver
Catherine Goodman
Linda Heathcoat Amory
Timothy Hyman
John Lessore
Humphrey Ocean
Martin Shortis
Above Drawing by Julian Woodward

Contact
For more information please contact
the following staff:
Drawing Year Registrar
020 7613 8522
registrar@princesdrawingschool.org
The Registrar is responsible for
enquiries, applications, open days for
prospective students, and tutorials
and assessments for students who are
on the Drawing Year.
Drawing Year Manager
020 7613 8522
drawingyearmanager@
princesdrawingschool.org
The Drawing Year Manager organises
the forum and lecture series, end of
year exhibition, residencies and other
student and alumni opportunities
and will also be able to answer
questions about applications.
How to find us:
The School is based at 19–22
Charlotte Road, London EC2A 3SG
and is fully accessible by wheelchair.
Charlotte Road is a narrow street with
Victorian warehouses on each side.
Tube
The School is a five-minute walk from
Old Street tube (Northern Line City
Branch - leave the Station by exit 3 on
to Old Street south side), or a tenminute
walk from Liverpool Street.
Train
The nearest mainline station is
Liverpool Street. Kings Cross and
Euston are 2 and 3 stops away on the
Northern line. There are also overland
trains to Old Street and Moorgate,
both within walking distance.
Bus
26, 35, 48, 149 and 242 run along
Shoreditch High Street. Buses 43, 76,
141, 214 and 271 run along City Road
south of Old Street. Buses 55 and 243
run along Old Street.
Bicycle
There is no bicycle parking
immediately outside the building.
There are racks further up Charlotte
Road, on Old Street, the top of Curtain
Road and also in Hoxton Square. It is
advisable not to leave anything easily
detachable or overnight. There are
Barclays Cycle Hire docking stations
on Shoreditch High Street at the
corner of Rivington Street.
Car
Car parking is extremely limited, but
there is an NCP car park on Great
Eastern Street. After 5.30pm and on
Saturdays street parking is free off
Shoreditch High Street near Arnold
Circus.
Left Etching by Tara Versey Overleaf Drawing by Asya Lukin