Experiencing the work as you would compose a scene or select objects for still life, my drawing process started with the selection of “the drawing”. I wasn’t aware of this at the time, but once I started to draw, I realised that I had identified with Turner’s drawing more as an object and became obsessed with including the conservation reference marks, as well as the folds in the paper. I began by mapping and positioning Turner’s marks and soon became aware that this was insufficient to enable the representative ‘shorthand’ and expression of what he had seen and observed. I overcame this by looking at the marks and trying to mimic the expressions with my own hand, which pleased me, as I wanted to have a more personal connection with my drawing. I worked with a 3H pencil throughout, spending about four hours in total at two sittings. As a designer, I must admit I was a little frustrated that I wasn’t able to experience “the drawing” from what Turner saw. I wanted viewers to experience what I had seen of the messages contained in the work and in making my final marks I could not resist the temptation to add some personal “imagined” observations. If you look closely you will find them and in the process I hope this will help draw attention to the differences.