Well for one thing, you end up with a heck of a lot more time. I logged about a thousand pages of sketches and paintings during the year, experimented with a whole host of media and subjects that I can't wait to tell you all about, spent more time socializing and painting with friends, took on a bunch of artistic challenges, played more music, and the list goes on. But I also missed the online associations. I didn't get Facebook notifications when it was somebody's birthday, and missed hearing about important events in my friends' lives. Thanks to all of my real life artist friends who I see on a regular basis, I never felt like I was in an artistic vacuum, but I didn't get to see all the works that used to travel by on my news feed on social media.
I also removed my work from the public eye for a year. I retrieved my paintings from all my galleries, did not enter any shows, and posted none of my 1,000 new sketches and paintings. Overall, I have to say that the experience was very freeing! Since nobody would see my work, I wasn't concerned with whether or not it was marketable, or if anybody would show up for show openings. I was free to explore subjects that challenged me, work on drawing, experiment with line work, study anatomy and perspective, copy paintings of the masters, practice constructive drawing techniques, play with abstraction and mixed media, and use whatever I wanted for reference without worrying about copyright restrictions. As a very self-motivated individual, I ended up painting and sketching more than ever, with the time I saved from my self-imposed removal from online interactions.
Now that the year is up, I'm ready to see where this online reincarnation takes me, and how/if it affects the way I've been working for the past year. The sketch above was done in an old, large format music book. It's a watercolor from Muscoot Farm, where my favorite vantage points always end up being smack in the middle of the farm road! The music writing on this page seems to work out well with the composition of the sketch. I got excited about doing the whole book this way, but some other sketches didn't fare as well. After fighting with those, I found it generally better to knock back the music notation a level or two with a thin application of gesso, although that posed some other problems! As the days go by, I'll take you along on my recent art journey. Perhaps you'll get some ideas for your own sketching process too.
