Composition Notebooks: I heard that Basqat used them as his sketchbook. Although I took it as a place I could write notes and scream ideas or half-mindedly work out kinks for pieces. I was already doing this, but in old sketchbooks or scrap paper. It’s way easier this way (for archives), plus I don’t feel bad using up as many pages as I may need, since they’re cheap.

Red Sketchbooks: My main sketchbook and the one I attempt ideas. Either by testing pallets, studying other styles, or just smearing my leftover paint onto.

Other places: I have a few smaller places I do studies, mess around or do composition ideas in. These are the cheapest papers of their kind and normally just sit near my desk. A pink book of watercolour paper, a black sketchbook with paper that can maybe handle some acrylic paint before buckling and a very small blue sketchbook of similar quality. Sometimes it’s hard to organize my own idea/practice.

Research/prep:

I would say for myself, having artist references, the technical knowledge, and the personal attachment to each piece is crucial to the complex visual orchestra that is a great piece of art. But for every small detail, there’s a need to make sure the audience is not left wondering, but able to make their own interpretations. 

My artistic processes and where I research are always in flux, as both I develop and so does my art/ art practice. But I would say learning, then digesting, then applying, then rinse and repeat until you can attempt to teach another is the core. Also listen to the wise! Seems simple, but I’m guilty of not. And I always try to do something like read an art book, go to a life-drawing session, a gallery, or on an art walk when I feel stuck.

My messy but representational shelf: