David Shrigley, Learn To Draw, 2014

Learn To Draw (2014) – David Shrigley Linocut

About the Work

Learn To Draw (2014) is an exceptional David Shrigley print that employs the deliberate, heavy-set lines of a traditional black and white linocut. Set against a stark, unadorned wove paper background, the graphic composition presents a satirical instructional guide rendered in the artist's signature hand-drawn style. The stark contrast between the deep black ink and the pale paper prioritises raw immediacy over academic refinement.

By reducing the complex, highly disciplined academic pursuit of fine art training to a crude, almost child-like visual prompt, the composition perfectly captures the sense of absurdity that defines his practice. This self-referential commentary on artistic skill subverts the traditional expectations of printmaking, turning a simple instruction into a profound philosophical joke. The deliberate awkwardness of the lines underscores a playful resistance to formal perfection.

David Shrigley

Nominated for the Turner Prize in 2013, the celebrated British artist has carved out a singular position in contemporary art through his biting social satire. His public commissions, notably the monumental Really Good thumb sculpture for the Fourth Plinth in Trafalgar Square, have cemented his reputation as a vital cultural commentator. Furthermore, his regular inclusion in prestigious institutions like the Royal Academy Summer Exhibition reflects his enduring appeal within the global art market.

The translation of quick, immediate drawings into a physical, carved block or a meticulously pulled screenprint is central to the artist's enduring appeal. This tension between fast-paced wit and slow, deliberate graphic processes lends a distinct physical presence to each David Shrigley print. Collectors frequently seek out these graphic editions because they capture the unfiltered, democratic spirit of his larger body of work.

Screenprint Process

Masterful printmaking requires a meticulous translation of the artist's original ink drawing onto a physical matrix, a process that is beautifully realised in this tactile linocut. While his screenprint editions are celebrated for their flat, saturated colours on Somerset paper, this relief print relies on the rich, textured indentation of ink pressed into heavy wove paper. Each pull from the carved lino block captures the raw pressure of the studio press, giving the black lines a sculptural quality that digital processes cannot replicate.

This physical approach ensures that the spontaneous energy of the original sketch remains fully intact within the structured format of a David Shrigley limited edition print. Published in London by Stephen Friedman Gallery, the production of this edition reflects a high standard of craftsmanship that balances graphic simplicity with material depth. Collectors are particularly drawn to this tactile relationship between the carved block and the final paper surface.

Collectability

Strong secondary-market presence and continued collector interest surround these early graphic works. The stark, black-and-white aesthetic of Learn To Draw exemplifies the most recognisable imagery of the artist's career, making it highly sought after by seasoned collectors. Its universal theme of artistic creation ensures it remains a cornerstone piece within his wider graphic output.

Representing a significant example from his highly productive post-Turner Prize institutional period, this work is increasingly difficult to source. Given the modest edition of 100, the composition represents a highly desirable example of his early graphic practice that continues to command attention globally. For those looking to secure an important text piece of his early output, this print represents an exceptional acquisition.