Welcome to Necromancy for the Dead Inside.

Research has shown that writing reflections after an exercise
Improves transfer & retention
Deepens experiential learning
And is good for both mental and physical health!
Further, the physical act of writing, not typing, leads to widespread brain connectivity. The act of physically writing helps to rewire your brain!

Plus, if you have a notebook, you can doodle! Doodling has been shown to be good for your mental health, help build creativity, and increase engagement!

I prefer unlined, but lined or unlined is up to you!
Label sheets (not pages) 1-100 so you can easily find any given prompt. The numerical labeling also allows you to skip as needed and go back as needed.

A 2023 study found participants assigned to paper calendars were more likely to complete scheduled activities than those using digital ones, apparently because paper supports a big-picture view of plans. Studies have also shown a physical calendar increases psychological commitment.

This is a little less optional. Pretty please have a blog. The blog is where you will post your art and your process. The blog can be made private, public, or any mix of the above.
The inspiration for this project is the educational theory of connectivism. Largely, we learn through community.
Not a people person? That's fine. Neither am I. I had a panic attack yesterday when it took me 3 hours to buy a car because I couldn't be around people anymore, I GET IT!
But even for us hermits (maybe especially for us hermits) growth is best built in networks and learning lives in the ability to make connections (mental and social) across the networks.
Yes, that is some hippy shit. But also, it's backed by science.
Connectivism says knowledge lives in networks. Not just people - ideas, tools, notes, links, conversations, patterns. Learning is making connections and strengthening them. You don't have to love people to benefit from the network; you just have to participate in it. (please.)
WITH THAT SAID you can also set your blog to private. And this way you can look back at your growth through these projects. And maybe one day you'll want to share an entry. As I said above, this is YOUR practice. Yes, I have strong suggestions. But I'll still meet you where you are.

No criticism of any kind. We do not criticise the works of others or our own work!
This includes things like:
"I would have ____."
"I would have liked to see it as _____."
"It would be better if _____."
"I like this, but _____."
NONE!
For many of us, it was criticism from ourselves and others that sent our creative inner artist to the grave. If we want to bring them back to life, we must offer support only.
"I especially love the way you ______."

While you may say who inspired you, do not compare your work to theirs. If they are further on their creative journey than you are, that is fine. We must all be beginners first. If they have been doing this for the same amount of time and you think their work is "better," that is also fine. We all move at different paces.
Please also do not compare other people's work to your own or other artists. You might think the person you're comparing them to is a genius, but you don't know how they feel about it. It's safest not to.

Yo, I will not fuck around here.

This also includes any homages to figures who are known bigots or oppressors.

I have been asked what a "dog whistle" is.

From Wikipedia: "In politics, a dog whistle is the use of coded or suggestive language in political messaging to garner support from a particular group without provoking opposition. The concept is named after ultrasonic dog whistles, which are audible to dogs but not humans. Dog whistles use language that appears normal to the majority but communicates specific things to intended audiences. They are generally used to convey messages on issues likely to provoke controversy without attracting negative attention."

It is common in our current political climate for people to say or do bigoted things and then claim they are not being bigoted. The intention is to express their prejudice without facing consequences.

This will not stand here. This is not that space.

I notice that in arts groups and crafting groups, people often complain about seeing politics. Art is inherently political by nature. You don't have to make your art political, but don't complain about anyone else's art being political unless that political expression breaks the bigotry rule.

Before we can create, we have to know what we want to create. You might have an idea in mind, but also, there might be ideas out there waiting for you. Let's take some time to think on what art IS?

Choose your medium for writing- it can be a Google Doc, a pen and paper, the notepad app- whatever you want. Hell, you can me it your first blog entry! (Did you make your blog? Right now might be the perfect time!)

Set a timer for 15 minutes. Take that time and write out as many forms of art as you can think of. Think outside the box! We know painting on a canvas is art, but what about painting your house? Drag is art, but is putting on clothes? Pretty much anything can be art if you're creative about it. Take this time to explore various options for expressing your creativity!

Even this list is a form of art!

First, let's refer to the word cloud we made with the last prompt. I will be updating this weekly, so don't fret if your words aren't there.

Then, with all these forms of expression in mind, take some time in any creative venture you want to play in. You can split time between them too, so long as at least 15 minutes is spent on each one. Practice self love as you begin. You will not be perfect. You will make mistakes. You will sing out of tune, you will mess up your shapes, you will get eyeshadow on your cheeks... you will mess up. This is part of art. When you do, practice loving yourself for trying. Practice understanding that everything has a learning curve. You cannot be good at something without first being bad at it.

Spend some time practicing this patience, this compassion, and this embrace of yourself as a whole person who has imperfections. You will doubtless get frustrated at yourself anyway. That's okay. We are also learning self love and understanding. We will get better at that as we go too.

If you are practicing a movement or sound, record it. If you are making visual art, take photos - at the very least a photo of what you came up with in the end. Blog this. Don't worry, you can keep it private. But blog this for yourself or to share your creative journey when (and if) you are comfortable doing so.

Also take a few minutes to jot down your experience in your notebook.

Set a timer and begin making immediately with whatever materials are closest. No planning, no choosing "the right" thing-just start and keep going until the timer ends.

Set a timer and make something intentionally messy, excessive, awkward, or ugly. Do not fix, edit, or clean it up-stop when time is up and document what you made.

Pick one creative practice you used to do and stopped. Do a simple version of it for the full time at your current level, then record how it felt to return.

Choose one creative thing you've wanted to do but never started. Do a first attempt with zero research or prep, then document what you tried.

Spend time finding one thing that genuinely sparks you (artist, song, poem, image, performance). Then make a response or short homage by borrowing one element (mood, rhythm, color, shape) and translating it into your own version.

Create through movement, gesture, posture, voice, rhythm, or physical action instead of sitting and thinking. Record a short clip or write a brief description afterward.

Set a timer and work continuously until it ends. When the timer stops, stop-no polishing-then document what you attempted.

Open your major project and do one concrete action (draft, sketch, rehearse, revise, outline). If you can't make, review notes and decide the next tiny step, then document it.

Write or record what worked, what didn't, and what got in the way this week. If you skipped anything, note why without judgment and choose one adjustment.

Write a short commitment for the next cycle (what you'll do, when, and the first step). Keep it small and realistic, then document the decision.

Start again with a small, low-stakes action-no catching up. Do anything creative for the full time, then document that you restarted.

Pick one constraint (one tool, one color, one word, one movement) and stick to it the whole session. Make something within that limit and note what the constraint changed.

Return to the same abandoned practice from Day 3 or choose another you quit. Do it simply for the full time and document what's easier or harder now.

Choose a medium you don't usually use (sound, collage, movement, ink, clay, etc.). Stay with it for the full time and document what it forces you to do differently.

Pick an artist you love and study one piece for 10 minutes. Then recreate one element (composition, rhythm, palette, tone) in your own way and document the link/influence.

Make something much smaller or much larger than you normally would. Keep the scale change the whole time and document what it did to your choices.

Write down one memory of being criticized, shamed, graded, or discouraged creatively. Keep it brief, then document the exact message that stuck. Write this message on a sheet of paper. Take some time focusing on how you will let go of this creative injury. When you are ready, burn the paper with the injury written on while focusing on letting go. Speak the words of your emancipation.

Put 20-60 minutes into the major project with one clear deliverable (one page, one sketch, one take, one section). Document what you added or changed.

Review the last 10 days and list 3 patterns (when you engaged, avoided, judged yourself, felt alive). Document one pattern you want to keep and one you want to interrupt.

Choose one tool or practice that actually helped (timer, constraint, movement, homage). Use it for a short session and document why you're keeping it.

Start with a new piece today even if you're mid-project. Make something from scratch for the time block, then document what it felt like to begin again.

Write down one criticism that stuck with you (e.g., "too thick," "too weird," "dance like a duck"). Then intentionally exaggerate it on purpose for the full time and document the result.

Go back to the abandoned practice and do it again, but keep it simple and unshowy. Document whether the shame is louder or quieter than last time.

Identify your default style (busy/clean, loud/quiet, fast/slow). Then do the opposite for the whole session and document what changed.

Choose a work you love and pick one specific element to copy (line thickness, rhythm, structure, phrase length, gesture). Copy only that element and make everything else your own, then document the source.

Make something using only materials you didn't "buy for art" (packaging, receipts, sticks, junk mail, objects). Keep it to found materials and document what you used.

Choose one creative injury message from Day 17 and do the opposite in the work. Make something that disobeys the message for the full time and document the act of pushback.

Do one focused step on the major project (revise one section, add one component, practice one piece). Document what you did and what the next step is.

Write down what you resisted this cycle (time, materials, exposure, boredom, judgment). Then document one workaround you can try next cycle.

Make a short recommitment statement and then do 10-20 minutes of actual making to seal it. Document both the statement and the action.

Set a timer and work even if you don't feel inspired. Make something anyway and document what happened once you started.

Choose one simple structure (two colors, one shape, one sentence length, one movement). Keep it simple the whole time and document what you removed.

Return again to the abandoned practice and do a short "practice session" rather than a finished piece. Document what you did and how it felt.

Choose one thing that feels slightly risky (a topic, a form, a performance, a style). Do a first attempt and document the risk you took.

Choose an artist and focus on one gesture or move they use (brushstroke style, cadence, camera angle, dance step). Recreate that gesture in your own piece and document the reference.

Work in a different location than usual (floor, kitchen, outside, different room). Make something there and document what the location changed.

Write down a critical voice you hear in your head (real or imagined). Then work for the full time while refusing to respond to it, and document what it tried to say.

Do one sustained session on the major project with a timer. Document what moved forward and what still feels stuck.

Look back at your documentation and choose one thing that's improved (not quality-consistency, bravery, range, stamina). Write it down and document evidence.

Pick one lesson from this cycle and use it in a short creative session. Document how you applied it.

Write one sentence about what you're aiming for this cycle (e.g., "more play," "more honesty," "more time"). Then work for the time block and document whether you stayed aligned.

Identify one natural tendency (messy, minimal, repetitive, dramatic, quiet). Exaggerate it on purpose for the full time and document what you learned.

Return again and do a small, repeatable version of the practice. Document what makes returning easier now.

Choose one tool or method you avoid (ink, voice, dancing, color, scissors, editing). Use it for the full session and document what you feared.

Choose a piece you love and steal its structure (beginning/middle/end, verse/chorus, composition layout). Fill it with your own content and document the source.

Work slower than is comfortable-deliberate marks, long pauses, careful movements. Document what slowing down reveals.

Choose one piece of feedback you've carried (even if it was "helpful"). Make something that refuses to obey it, then document the response.

Do one concrete build step on the major project (add content, refine a section, rehearse a piece). Document the step and the next one.

Note when you had energy and when you didn't this cycle. Document one condition that supports energy (time of day, music, location, silence, etc.).

Choose one change you'll carry into the next cycle and write it down. Then do 10-20 minutes of making using that change and document it.

Start working immediately in the middle of something-no warm-up, no introduction. Document whether starting midstream changes your resistance.

Choose a limited palette (colors, sounds, words, movements) and stick to it. Document what the limit forces you to prioritize.

Do the abandoned practice again, but focus on showing up, not results. Document how your relationship to it is changing.

Pick something slightly more complex than usual (layering, longer piece, multi-step). Attempt it for the full time and document what broke down.

Take inspiration from one medium and translate it into another (song → drawing, poem → movement, photo → writing). Document what you translated and from what source.

Choose a simple action and repeat it (marks, lines, steps, phrases) for most of the session. Document what repetition does to your mind and the work.

Identify one block that shows up repeatedly (starting, finishing, sharing, choosing materials). Do a session designed to confront it directly and document what helped.

Put a timed session into the major project and complete one defined chunk. Document what you completed and what's next.

Write down 3 insights from this cycle (about process, energy, fear, tools). Keep it blunt and document them for later.

Do a short creative session, then stop intentionally. Document both what you made and how it felt to stop on purpose.

Restart with a small piece and a timer-no catching up. Document the restart and what made it easier or harder.

Choose a rule you follow in your work (neatness, realism, grammar, symmetry, "no singing," etc.). Break it deliberately for the full time and document the rule you broke.

Return again and do the practice with less self-commentary. Document how often you judged yourself during the session.

Choose a medium and start without a plan or reference. Keep going for the full time and document what emerged.

Choose a theme you see in work you love (loss, desire, power, humor, decay, tenderness). Make your own piece on that theme and document the influence.

Work at a different pace than usual (faster, slower, stop-and-start). Document what pace does to your choices.

Set a timer and work while letting doubt exist in the room. Document the doubts you had and what you did anyway.

Do one focused session on the major project and leave a clear note for future-you about the next step. Document both.

Identify one moment this cycle that felt satisfying (even tiny). Document what created that satisfaction.

Choose what you're emphasizing next cycle (range, depth, courage, consistency). Document the choice and do a short session aligned with it.

Work with your current conditions (energy, time, space) without trying to "optimize." Make something within those constraints and document the conditions.

Make something embarrassing, crude, overly emotional, or unfinished - something you would normally keep private. Do not fix it; document it privately.

Return again to the abandoned practice and do it in a way that feels lighter or more playful. Document what makes it feel different now.

Make something intended to be shown (a short post, a simple video, a small image)- but sharing is still optional. Document how it felt to make "as if public."

Choose a clear influence and intentionally echo it in your work (style, voice, structure). Document who/what you echoed and what you changed.

Create using your voice (speaking, singing, sound, reading aloud), even if it's awkward. Record a short clip or write a description afterward.

Write one limiting story you tell yourself ("I'm not an artist," "I'm too old," etc.). Then make something that contradicts it and document the shift.

Do a timed session on the major project and produce a tangible piece (draft, sketch, take, section). Document what you produced.

Compare early work to recent work and identify 2-3 changes (risk, stamina, honesty, variety). Document evidence.

Choose one courage habit you want to keep (posting, trying, starting, finishing). Do a short session that uses it and document why it matters.

Start a piece with no intention of finishing or improving it. Work for the full time and document what happens when outcome isn't the goal.

Limit yourself to very few materials or tools today. Make something anyway and document how scarcity changes your inventiveness.

Return again and focus on consistency over quality. Document that you showed up and what helped you do it.

Choose something that feels awkward (new medium, new subject, movement, voice). Do it for the full time and document what felt awkward and why.

Borrow a method from an artist you admire (daily sketching, looping, collage rules, structure). Use the method for one session and document the source.

Change one part of your routine (time of day, music/silence, lighting, place). Create under the new condition and document the difference.

Choose one fear that still drives avoidance and do a small action that challenges it. Document the fear and the action.

Do one session on the major project that aims for completion of a piece or a section. Document what you finished or advanced.

Write down what grew across the last cycles (not "better art" -more range, more honesty, more return). Document concrete examples.

Choose one practice you now trust (timer, homage, constraint, movement). Use it in a short session and document why it's reliable.

Begin a piece that acknowledges you're nearing the end of the 100 days. Make something that feels like closing or summing up and document the intent.

Strip your tools down and make something simple on purpose. Document what you kept and what you removed.

Do one last deliberate return to the abandoned practice as an act of respect for persistence. Document what you want to keep doing after Day 100.

Start a piece or plan that clearly continues beyond the 100 days. Document what continuation looks like for you.

Choose one influence and make a piece that thanks it (explicitly or quietly). Document the influence you honored.

Spend part of the session in stillness or quiet attention, then create from that. Document what stillness changed.

Name one block you're ready to stop obeying. Make something that ignores it and document what you released.

Do a final focused session on the major project that brings pieces together or clarifies next steps. Document what's complete and what continues.

Review your documentation and write a blunt summary of what changed, what didn't, and what mattered. Document it as a final record.

Decide your next cadence (daily/weekly) and the tools you'll keep using. Write a simple plan with a first date/time and document the decision.