01-01-2014, 08:10 AM
You know, since I started a thread on this before and I've taken a few months balance and examine other schedules (in Excel) I can offer a bit more input and elaboration, too.
1) It's a balancing act that REALLY depends on you, and you know how to challenge yourself more than others do or will. To this end: other schedules may have many repeating patterns, but they're all there to show that each individual artist challenged themselves in that specifc way (Chris Oatley and Noah Bradley each did paintings for about 30 minutes a day, Dave and Fetsch each had ~hour and 30 minutes a day dedicated to anatomy and color each).
2) More than anything you will do or add to a schedule, consistency is very important, Everything you do or will do gets better the more you do it following days, so keeping what you can and can't do repeatedly is something you have keep in mind. It's like lifting weights and seeing the progress of such.
3) Variation is also important, keeping the above point in mind. Change your subject matter every so often so you're not drawing or painting the same forms every day.
4) And with the other things, doing "work work" is very important, putting all that you learned into practice and making all those studies count. You do not have to produce a piece of work (commission or personal) a day, but you have to contribute to something to make it all 'stick'. Going lengthy periods of time where you study and don't apply it all is just you spinning your wheels and filling time. To this end, make it so that whatever work work you do do goes to a something.
5) Manage your time, but don't be ruled by it. There will always be times when you can't do anything (or even the opposite: you have too little to do) and you must plan for that accordingly. Understand that some things you do you can miss and/or make up for later if you give yourself the leniency to do so. As Monkeybread indicated: missing a day or more will make you feel like you're cripplingly behind, which can mount into a full blown sense of burnout. There are many ways to harden up and discipline yourself, but mental sabotage is not one of them.
6) Draw what you want to draw when it's personal work (and hell, when it's work work). This is your time, your training schedule YOUR input into what makes your art better. Use it wisely or use it sparingly, but above all use it for what makes you you.
7) Don't try to everything at once. Some of these schedules may have been made after lengthy periods of these fantastic artists twisting their own arms to make things work, and most of these schedules border on the edge of insanity. That being said, you may try to go further if you're allowed. And that's cool too.
I hope that helps, after spending most of this last year trying and working into making a schedule of my own (and having some success).
1) It's a balancing act that REALLY depends on you, and you know how to challenge yourself more than others do or will. To this end: other schedules may have many repeating patterns, but they're all there to show that each individual artist challenged themselves in that specifc way (Chris Oatley and Noah Bradley each did paintings for about 30 minutes a day, Dave and Fetsch each had ~hour and 30 minutes a day dedicated to anatomy and color each).
2) More than anything you will do or add to a schedule, consistency is very important, Everything you do or will do gets better the more you do it following days, so keeping what you can and can't do repeatedly is something you have keep in mind. It's like lifting weights and seeing the progress of such.
3) Variation is also important, keeping the above point in mind. Change your subject matter every so often so you're not drawing or painting the same forms every day.
4) And with the other things, doing "work work" is very important, putting all that you learned into practice and making all those studies count. You do not have to produce a piece of work (commission or personal) a day, but you have to contribute to something to make it all 'stick'. Going lengthy periods of time where you study and don't apply it all is just you spinning your wheels and filling time. To this end, make it so that whatever work work you do do goes to a something.
5) Manage your time, but don't be ruled by it. There will always be times when you can't do anything (or even the opposite: you have too little to do) and you must plan for that accordingly. Understand that some things you do you can miss and/or make up for later if you give yourself the leniency to do so. As Monkeybread indicated: missing a day or more will make you feel like you're cripplingly behind, which can mount into a full blown sense of burnout. There are many ways to harden up and discipline yourself, but mental sabotage is not one of them.
6) Draw what you want to draw when it's personal work (and hell, when it's work work). This is your time, your training schedule YOUR input into what makes your art better. Use it wisely or use it sparingly, but above all use it for what makes you you.
7) Don't try to everything at once. Some of these schedules may have been made after lengthy periods of these fantastic artists twisting their own arms to make things work, and most of these schedules border on the edge of insanity. That being said, you may try to go further if you're allowed. And that's cool too.
I hope that helps, after spending most of this last year trying and working into making a schedule of my own (and having some success).