Keeping with the same materials as yesterday, because I love using them so much, I wanted to try and achieve the looseness seen in the drawings I've produced over the last few days. However, this didn't work out as planned and instead has ended up being more like a traditional portrait. It lacks the energy and movement which has been present in my work over the last week or so.

I felt myself getting caught up in detail again with this one and feeling frustrated with the process. At this point I remembered the great advice given to me by tutor and artist, Louise Fletcher on her online painting course called, Find Your Joy, that I took last year. She suggested to the group that during the creative process, if we start to feel like we're getting too fussy, to load a paint brush and obliterate either the area of the painting that seems to be holding you back or across the entire thing. This disrupts the work and allows you to see it with fresh eyes. Although this is a drawing, I did just that, with white acrylic, right across the nose!  (you can't see it now as there are so many layers of graphite and charcoal over the top of it). I was then able to adjust and move on from the part I was getting too 'thinky, thinky' about. I find by doing this it also contributes to the many layers of a painting or drawing which in turn creates a wealth of creative history. 

I get the sense that a definite style is beginning to emerge in my work which I'm very excited about and I'm learning to allow the background colour to seep through into the subject. This ties the whole piece together without making the work feel disjointed.

After creating today's drawing I've come to realise that it's the movement of the horse I'm particularly interested in. I find this drawing far too static. It doesn't allow me to express the kind of energy I see when a horse is in motion.