Turner’s drawings were topographical in character, and his technique was traditional to imitate the best English masters who existed at that time (Townsend & Turner, 1996). He started working for various magazines in 1794 and got a job to make elaborations of many unfinished drawings that had been started by John Robert Cozen, who was a landscape painter (Shane & Turner, 2004). The magazines he was working for at this time were the Pocket magazine and the Copperplate Magazine that were popular and the England citizens. It was through the influence of the deceased landscape writer, Cozen and Richard Wilson from Wales that Turner was able to become more imaginative and poetic in his landscapes (Turner & Bockemuhl, 2005).
At the Royal Academy, he went through various exhibitions for his watercolors and oil painting. The greatest of all watercolors that Turner made was the Fishermen at sea back in 1796. It had a moonlight scene and earned a lot of acknowledgement from critics as an original critical mind. At the age of 24, elections took place and he became an associate of the Royal Academy and later upgraded to become an academician three years later (Ackroyd & Turner, 2006). In 1800, Turner started a small studio in London and four years later opened a private gallery. In addition, he made trips in search of inspiration visiting various countries such as Wales and Scotland among others. He made more than five hundred drawings during his tour in Switzerland and France and studied the old Masters that is found in Louvre. In 180, Turner started his enterprise whose focus was publishing plates that referred to as Lober Sturdiorum (Turner & Bockemuhl. 2005). His main aim was to have full documentation of great variety and range of watercolors and landscapes. He had a few engravers on board though he did most of the work in supervision