Process is personal and unique to each artist, but I can share some of mine, and perhaps this will resonate for those who work in a similar way, or need directions to start.
The long explanation is this:
This is the process especially for a group of works on a theme or for sculptural or fabricated works and installation. There is also a short way:
I often work the second way for great joy and satisfaction– but for full exploration of an idea, the long way is better. An early teacher of mine, Merrill Shatzman, often spoke about taking an idea as far as it can go. Try variations on a theme, change colors, alternate media and play with size, format and style. I recently found I like painting florals, so I paint a few every day, and I am thrilled with the many different results.
The most often skipped step is Prototyping. You have an idea and you can’t wait to make it. But if you can do sketches, models, color studies or even doodles, the final product will be much better. If you make the prototypes with care, they become a record of the process as well as unique art objects on their own.
Whatever your process, take some time to understand it and refine it. If you identify the common sticking points, it will be easier to change your practice to avoid them. Learn to love every step of the process and execute with care.