Workshop 7: Play, Chance, and Comics

Matt Finch

This hands-on workshop explores social forms of drawing, using games and performance in both physical and digital spaces. 

Taking focus away from draftsmanship to explore the use of comics in oral storytelling and play both on and offline, the session investigates how drawing can be incorporated into ways of thinking and making for all ages, in and out of traditional learning environments.

Matt Finch writes and makes fun things for people to do in public places: zombie sieges, kaiju battles, digital games, and library burlesque. See more at

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We ALL draw – Early Bird Rate – final day

STOP PRESS: Early bird rate for We All Draw ends tomorrow – 8th July. We extended it for a week, as we have lots of bookings and reservations made a while ago, and we wanted to give you all a last chance to pay at the cheaper rate.…/2015-symposium…/

– and you can check out the Masterclasses and Workshops scheduled so far:

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Announcing ‘Thinking Drawings’ – an Open Drawing Exhibition 5-9th November 2015

We All Draw: Thinking Drawings 

5-9th November 2015

Deadline for submissions: August 15th

Thinking through Drawing are pleased to announce our open exhibition, as part of the 2015 International Symposium: WE ALL DRAW.

We invite all practitioners who use drawing and sketching in their practice, to submit examples of ‘drawings that think’ to be exhibited at the Bargehouse, Southbank, London from the 5th to 8th of November.

When do surgeons use drawing? How do science teachers use drawing? Why does the engineer use drawing? How can drawing be used as a social practice? Where do artists draw? Does drawing facilitate dialogue? Could a drawing resolve a dispute? Does drawing promote wellbeing? Can a drawing sing?

We encourage you to send drawings made privately in your sketchbook or studio as a part of your preliminary working process, as well as ‘finished’ drawings that are a product of a thinking process, that facilitate a certain state of mind, or function as a tool for thought. We welcome everything from spontaneous drawings on the back of envelopes to sustained drawings on traditional drawing papers, providing they can be folded into an A4 envelope (9” by 11”).

More info / register here

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The We All Draw Programme

Thursday 5th November

5-8pm: Welcome drinks, private view of shows – and co-incidental fireworks on Southbank!

Friday 6th November

Noon onwards: registration and warm up workshops.

Wandering and wondering – explore the Bargehouse and curated drawing shows

2pm – scribing workshops

3-5pm Drawing Circles Meet up and review

Saturday 7th November

10-6pm – Masterclasses and panel discussions

Sunday 8th November

10-6pm – Workshops, collaborative drawing and discussions

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Summer Intensive – announcing an additional second course at Croydon Park Hotel, 27-29th July 2015

In addition to our course 23-25 July, we are now holding a second course, for those who would like a longer course, who attended our Bronx course last summer, or who cannot make the first course dates. This will follow from the first, but can be taking independently.

Looking forward to seeing you in summery Croydon shortly!


123 Draw

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Summer Intensive Drawing Course, July 23-25, London 2015

Following the success of our 2014 Professional Development course in the Bronx NYC, we are running a further course, in a lovely hotel in Croydon, London.

Please click here for details and booking.

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Drawing as Seeing – Course in Siena, August 2015

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We All Draw – Thinking through Drawing 2015 symposium, 6-8th November 2015. Reserve your place now


Following on from the past three Thinking through Drawing symposia, at Wimbledon, Teacher’s College Columbia University and The Metropolitan Museum of Art, our 2015 symposium will be held in London,  Friday 6th   – Sunday 8th November 2015.

More about the symposium. 

Please contact us to reserve your place:


£210 Full rate

£170 Early Bird rate

– and this is the BEACH next to the warehouse we hope to hold the symposium in! Amazing views of London and the Thames. 2015-03-25 11.17.53



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We have a new Drawing Circles blog for all members – with  regular posts and images from the Circles.

Do try to record as many of the pages in your books as possible, as we are hoping to make animations of the evolution of pages, and to have the chance to assess the changes through the year.

Send images and posts to

Please specify whether you prefer your  images  to go on your private blog for your Circle, or this public blog.

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‘Like drawing the wind.’ Jim, plus From Christian to Jim, re rabbit holes and wind.

Hallo Jim Dawkins

The way you formulated your dissociation around the drawing process inspire me to write this text. While talking poetically about a reality that is as intangible as the wind, you write about the relationship to your own work. You compare the relation to something that resembles the alliance to your best friend and you use metaphors pointing towards materiality as flesh and bones, steaks and potato puree. This also provides associations with different consistency of materiality as mass. It was also interesting the metaphor of the “Metacognitive struggle with the rabbit hole.” The rabbit lives in materiality per se, in tunnels that nobody can control, in the earth’s interior. Here we touch a fundamental driving force in drawing namely “desire”, the source that give the drawn line its energy. You never know when or where the rabbit runs away dependent only of the desire principle or its inhibition. The verbal dialog, inner or outer, that offer a semblance of connection (bridge or link) between the artist thinking and the drawing itself is in my opinion not compatible with the bodily consciousness that belong in the gap, which opens up the space in between “cognitive thinking” and “graphic expression”.

Pandora box 3

This bodily consciousness condition eludes the ego that become absent, as a conscious control authority of the drawing process. Absent in such a way, but totally present in the body awareness to the surrounding. The unarticulated (in linguistics terms) dialogue that occurs then with the body is nonverbal, dumb and blind .It happens beyond the five senses records of the outer world and is rooted in the sensitive materiality of the body likewise in its coupling with the outer world. Simply put, the “motivational” visual stimuli, like landscape, object, body etc.,have to be answered with a “motivated” gestural action. It is the act of drawing itself, as continuous loop of visual motor integration of outer and inner stimuli. It is through the movement that this gesture will give access to memory and embodied sensorimotor knowledge collected through life experience.                                                                

lapin JPEG

Christian Montarou, March 2015, Norway.

Jim Dawkins, Global Circle 3:

Love the images of gdc5 (Global Drawing Circle 5) you just posted. Attached is one from my sketchbook. My work is fairly ‘touchy feely’ – meat and bones or steak and potato stuff. I struggle with the metacognitive rabbit hole of drawing, such as the path the gdc5 drawings seem to blaze…making marks or drawing or sketching is more memory interpretation for me, a sort of expressive impressionism if you will, but not in the vein of Impressionism itself. I’m still working on what I do and why I do it. Perhaps it is just as simple as it looks.

 Page 3 barnsHope you have a great week!


I know there is some kind of bridge or link between my drawing and my thinking, and I can verbalize it on occasion. But that link isn’t a visual one just yet…if that makes sense. Expressing that link in a graphic manner eludes me. It is kind of like drawing the wind: I know it’s there, I just can’t put pen to paper in a manner that describes the phenomenon appropriately. Last year in NY I saw plenty of our group who seemed to have managed their way into that particular dimension of drawn thought expression. Those were moments when I totally felt a disassociation with my thinking and my drawing, or at least how to represent what I knew to be true in the space that separates (or joins) the two. 

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