The Art of Slowing Down: Why Sketching 100 People in a Week is More Than Just a Challenge
There’s something undeniably captivating about the idea of sketching 100 people in a week. On the surface, it’s a creative marathon, a test of endurance and skill. But dig a little deeper, and you’ll find it’s so much more than that. It’s a meditation, a way to reconnect with the world, and a reminder of the beauty in the mundane. Personally, I think what makes this challenge so compelling is its ability to transform the way we see—not just with our eyes, but with our hearts.
The Challenge That’s Not Really About the Numbers
Let’s start with the obvious: 100 sketches in seven days is no small feat. But here’s the twist—the founders, Liz Steel and Marc Taro Holmes, don’t actually care if you hit that number. What they care about is the act of trying. From my perspective, this is where the genius lies. It’s not about perfection; it’s about participation. What many people don’t realize is that the pressure to create ‘good’ art often kills creativity. By setting an ambitious but forgiving goal, the challenge encourages you to draw without self-judgment.
Holmes says, ‘Quantity is the only goal, not quality.’ I couldn’t agree more. This approach flips the traditional art-making process on its head. Instead of obsessing over every line, you’re forced to let go and trust the process. If you take a step back and think about it, this isn’t just about improving your sketching skills—it’s about retraining your brain to embrace imperfection.
The Magic of Momentum
One thing that immediately stands out is the way this challenge builds momentum. Steel calls it a ‘special type of magic,’ and I think she’s onto something. By day five, as she puts it, you’re ‘in the flow.’ This state of flow is where the real transformation happens. You’re no longer just sketching people; you’re sketching life.
What this really suggests is that creativity thrives on consistency. It’s not about waiting for inspiration to strike—it’s about showing up, day after day, and letting the process carry you. This raises a deeper question: How often do we miss out on growth because we’re too afraid to start?
Sketching as a Form of Mindfulness
Here’s a detail that I find especially interesting: sketching forces you to slow down. In a world where we’re constantly bombarded with information, this act of slowing down is revolutionary. Quincy Nadel, a participant from Chicago, calls it her ‘permission slip’ to sit and observe the world without the pressure of productivity.
In my opinion, this is where the challenge transcends art and becomes a practice of mindfulness. When you’re sketching, you’re fully present. You notice the way someone leans into a conversation, the posture of a parent carrying a tired child, the quiet beauty of strangers interacting. This isn’t just about capturing a likeness—it’s about capturing a moment.
The Tactile Relationship with the World
Steel talks about creating a ‘tactile relationship’ with the environment, and I think this is a game-changer. When you sketch, you’re not just observing—you’re engaging. The sounds, the smells, the conversations—they all become part of the experience. This is something a photograph can never capture.
What makes this particularly fascinating is how it changes your memory. Steel mentions looking back at old sketchbooks and being vividly transported to the moment. You don’t just remember the scene; you remember the feeling. This raises another profound idea: sketching isn’t just about documenting the world—it’s about encoding your experience of it.
The Accessibility of It All
A common misconception about art is that it requires expensive tools or innate talent. Holmes debunks this by emphasizing the accessibility of the challenge. You don’t need fancy materials; you just need a willingness to try. This democratization of art is what makes the challenge so powerful.
From my perspective, this is a reminder that creativity is for everyone. It’s not about the tools you use or the skills you have—it’s about the courage to start. And once you do, you might find, like Steel, that sketching becomes addictive. ‘Once you get going, you just can’t stop,’ she says.
The Broader Implications
If you take a step back and think about it, this challenge is about more than just sketching. It’s about reclaiming our attention in a distracted world. Nadel’s hope that the challenge encourages others to put down their phones, even briefly, resonates deeply. There’s a whole world happening at eye level if we just choose to see it.
This raises a deeper question: What else are we missing because we’re too busy scrolling? Sketching, in this context, becomes a form of resistance against the digital noise. It’s a way to recalibrate our brains, to notice the people and moments that usually fade into the background.
Final Thoughts
Personally, I think the #OneWeek100People challenge is a brilliant reminder of the power of small, intentional actions. It’s not about creating masterpieces—it’s about creating connections. With yourself, with others, and with the world around you.
What this challenge really suggests is that art isn’t just about the final product; it’s about the process. It’s about slowing down, noticing, and appreciating. And in a world that often feels chaotic, that’s a lesson we could all stand to learn.
So, grab a sketchbook, find a corner of the world, and start drawing. Who knows? You might just discover that the magic isn’t in the sketches—it’s in the way they change you.
