I wanted to continue working onto the wall to develop my ideas and knowledge of working on a large scale wall piece. The previous wall drawing had to be painted over so that I could have a clean ‘canvas’ to work onto, there is a real sense that the work is temporary because of the fact it’s drawn directly on the wall. I feel that it gives a piece of art more value, it is appreciated more because of the fact that it wont be there forever with a ‘see it before its gone’ attitude. This time, I made sure that the wall was primed and prepped with emulsion and sanded down so that the surface would be smooth to work onto. This really helped with the quality of the line, it ensured the delicacy of the pencil lines. I wanted to experiment with this piece to see how the restricted rectangle would interact with the space of the wall, however this time rather than creating a motion of patterns within the restriction I wanted an intensity around the edge of the rectangle. Then, changing the size of the gesture from small and intense around the edge to large and rhythmic in the centre, once again drawing attention to the middle of the piece showing the motions of the gestures. Once again I decided to incorporate the tally as a method of timing the process of the drawing, I want this tally to be included as part of the piece, the process for me is as equally important as the final finished piece. I want the audience to be aware of the time it took to complete the drawing so that they can appreciate how laborious the process was. The finished drawing itself I feel is really prominent in the studio, the strength of the edges is really intense. It gives the illusion that it is coming out at you, it is visually dominant within the studio space.