Today on a rainy sunday I've been thinking about routines.
My questions are pretty simple ones. They are based around my desire to do more; always pushing to do more.
What creates the most positive, creative environment?
How do I structure my day to enhance my productivity, and, subsequently, my ideas?
It can be elusive. The notion of putting your creative time into a schedule could be cringing to me and many others. However, at the same time its possible. I've been looking at a great website to discover what many artists have to say about their valuable time and how they manage it. The excerpt below is taken from this site:Daily Routines
He sticks to a strict routine, waking at 6:15 every morning. He makes breakfast for his family, takes Ella to school at 7:20 and is in the studio by 8. At 1 o'clock, he crosses the garden from the studio back to the house. The grass in the garden is uncut. Richter proudly points this out, to show that even it is a matter of his choosing, not by chance. At 1 o'clock, he eats lunch in the dining room, alone. A housekeeper lays out the same meal for him each day: yogurt, tomatoes, bread, olive oil and chamomile tea.
After lunch, Richter returns to his studio to work into the evening. ''I have always been structured,'' he explains. ''What has changed is the proportions. Now it is eight hours of paperwork and one of painting.'' He claims to waste time -- on the house, the garden -- although this is hard to believe. ''I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.'' As he talks, I notice a single drop of paint on the floor beneath one of his abstract pictures, the only thing out of place in the studio.
The New York Times Magazine, January 27, 2002
(Thanks to Dylan Chatain.)
Have a look as it might provide insight for your own needs as a creative. Or just make you feel not so bad that massively well known artists can be as quirky in their approach to art.
Below are a few pages from not my most recent sketchbook but from the one before it. I"ll just note how differently one sketchbook can be to another. Enjoy your Sunday!
Now that my blog followers has hit the 100 mark I will be putting up a sketch that one of you will take home for free.
It's my thank you to all of you. Look for details on monday.