While working at the Tate, Thion noticed a lot of unused, un-printed-upon admission tickets going to waste, each one a perfect piece of (perforated) rectangular card stock, 10.8 by 7.7 centimeters. In his spare time, he began sketching with black marker on the blank tickets—blank except for the Tate logo on front, a blurb of boilerplate “Terms and Conditions” on back. The drawings were spontaneous, improvised, free. The idea for a composition would come to him at once. He would begin with a double outline of figures inside an undulating but generally rectangular field. Then he would fill in parts of the figures and background (creating a “negative” effect of white figures on black ground, evocative of 15th-century woodcuts) or, as in most of the sketches from 2002, simply fill in the space between the double outlines, creating a thicker, more sensuous line as well as a more abstractly linear overall pattern. Finally, he would sign the sketch with his name, the place (London), and the year.