Photographer Marc West puts pen to paper at a workshop inspired by the Ashmolean’s latest show

As a professional photographer, I’ve spent the last decade painting with light.

But, try me at drawing and I’m a complete amateur.

In my mind’s eye, I can feel the shapes emerging from the page. But, when it actually comes to putting pen to paper they fail to materialise.

However, I still retain an endless fascination for those who have that special gift.

For my money, John Piper was one of the modern masters – an artist who captured the true spirit of that thing we call Englishness and who had close connections with our county.

His drawings – along with more than 100 works by some of Britain’s greatest artists – are currently on display at the Ashmolean’s latest blockbuster show.

And the world-famous institution has also programmed a series of practical workshops and courses to coincide with Great British Drawings over the summer months.

So, I perched myself at the back of the class hoping to absorb (by osmosis if no other way) some of the tricks that Piper in turn learnt himself from the groundbreaking works of the European Modernists.

Charlbury-based artist Kieran Stiles is renowned for his evocative abstractions of Cornwall’s rugged coastline – which often use unreal colours and accentuate reality – making him the perfect teacher to lead us step-by-step through Piper’s many different mixed-media techniques.

In today’s makeshift studio on top of the museum, there are pots of paints and half-finished works lying around, the smell of oils and the splatter of coloured ink, classical music floating on the breeze; and views out over the dreaming spires, and onto the Oxfordshire countryside beyond to inspire.

We begin, as Piper himself would, by making observational pencil sketches.

The recently charred rafters of the Randolph Hotel’s Gothic gables prove irresistible subject matter for most.

To this is added a simple layer of candle wax in the areas where we wish to preserve highlights once the watercolour wash is added.

At this stage, it’s hard to see how this mish-mash of mediums will ever amount to anything of artistic merit, but with persistence it begins to come together.

A final “flick of the wrist” free-flowing black outline brings our works to life in his trademark way.

As we compare our efforts to his lithographs during a behind-the-scenes visit to the Western Print Room, it’s clear a major exhibition of my drawings may never be on the cards.

However, I reckon this old dog might just have learnt some new tricks – which I’m sure can be applied to my medium before I press the shutter in the future.

If you too fancy exploring your creative side, I can wholly recommend paying a visit to one of Keiran’s weekly classes. Founded in 2004, his independent art school offers a range of themed workshops and individual tuition where people can work uninhibitedly in a friendly vibrant atmosphere.

Every Saturday morning from 10am at Walton Crescent Studio in Jericho there’s an opportunity to (like me) learn how to make observational drawings, prints and paintings from the figure in a wide range of traditional and experimental media.

Suitable for all levels of experience, classes start from as little as £20 and include all art materials – and real coffee during break times.

See artcoursesoxford.com