If you talk to people who procrastinate when in the studio they will often say…
‘First l have to travel to the studio. Then l change my clothes, so l don’t get paint on them. Next l usually choose some music to listen to and make a cup of tea. Somehow, l need to unwind and turn my mind off from all the stuff that’s been happening in the week and focus on being creative. It’s hard getting started.’
However, if you talk to an artist who doesn’t have this problem, they might say, ‘you just pop into the studio and start drawing.’ If you then ask them about the steps involved, they will say, ‘there is just one step, you just get started.
We all have this ability to make some things simple and other things complex. Daily success in the studio can be simple. ‘Just decide what to make before you get there, arrive and get busy. But it doesn’t mean it is easy.
Ernest Hemingway offered this advice to a young writer, “The best way is always to stop when you are going good and when you know what will happen next. If you do that every day when you are writing a novel, you will never be stuck. That is the most valuable thing l can tell you so try to remember it.”
The first thing I am drawn to do when I arrive at the studio is to check my phone. I have personal errands, reading the news, checking my bank account, paying bills, following up on loose ends, researching things of interest on the internet plus personal messaging and social media messages. If I walk through the door and allow myself to have unplanned time, I’m finished for the day before I have even started. All the personal errands need their own block of time on my calendar, later in the day so I first have 3 hours of quality studio time. If you notice your mind is making things complicated and stopping you from getting started, turn the dial towards simplicity in your mind.
I prepare a simple problem in advance that I can explore or play with when I arrive at the studio so there are no obstacles. I set up a clean sheet of paper and a form of inspiration like a photograph. This is often enough to prevent obstacles. The inspiration needs ideally to be a simple interesting problem to resolve through a quick sketch.
I have found it is important not to be judgemental about the outcome. If it is a mess, I can always do it again. There is no such thing as failures in my studio as I learn from every mistake. I am pleased if I have picked up a pencil I have started, that way it has been successful. Now I’m in the open creative mode it is easy to move on to something more challenging.
At the end of each day I organise my work with the juicy ideas laid out with your pencil and paints ready for your return, aswell as a quick piece of work to get me started. By leaving my work prepared for the next day, I just arrive at the studio and start working. There is no need to stop and reflect on what to do.
It also means that by preparing what you are going to do, you have the night to ponder it sub-consciously while you are asleep. Thereby allowing new insight to come forward without you having to think about it.
For further ideas about how other artists have developed strategies, I recommend reading the book: ‘Daily Rituals: How artists work by Mason Currey.