DRAWING FROM FILM

We zoom in on Lewes, in East Sus­sex, south­ern Eng­land, to talk to about his uniquely cin­e­matic ap­proach to life-drawing classes

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Nick Bush started Drawing From Film (DFF) five years ago while at art school in Glas­gow, on a big black­board in his bed­room. From this ex­per­i­men­tal ven­ture, Nick pitched his unique life-drawing class idea to project manager at The De­pot in Lewes, East Sus­sex and be­gan weekly meet-ups at this in­de­pen­dent old brew­ery-turned-cinema.

Sub­se­quently, his vi­sion has drawn enough at­ten­tion for a sec­ond se­ries of film-drawing sa­lons in Herne Hill, south Lon­don. “So far in this se­ries we’ve drawn from The Laven­der Hill Mob, The Pas­sion of Joan of Arc, Wal­lace and Gromit,

July 2015 Tampopo, and La Belle et le Bête,” says Nick. “I choose films that I have a cu­rios­ity with and want to learn more about them, by vis­ually dis­sect­ing them,” he says.

The DFF evenings in­vite peo­ple of all lev­els to come to­gether to draw and learn from film. Dur­ing the evening a spe­cially se­lected film is pro­jected and Nick pauses it be­tween eight and 10 times at specif­i­cally cho­sen mo­ments, for the class to draw from. The stills are up for three or four min­utes, which gives the stu­dents time to make their sketches.

“The em­pha­sis in the classes is on peer-to-peer learn­ing. I en­cour­age peo­ple to look and learn from one an­other and to talk about their work. As an or­gan­iser I’m re­ally en­cour­aged by see­ing oth­ers us­ing film to help ex­press their own ideas,” Nick adds.

“I choose the stills, but the artist’s in­di­vid­u­al­ity comes out on top through the drawn mark. Film is of­ten a mir­ror to our and other peo­ple’s so­ci­eties. Our draw­ings are taken home, and the ideas can be re-ex­pressed in a dif­fer­ent form.”

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