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Switching Gears from archInk to Inktober for Fresh Inspiration

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The blog post discusses moving from the archaeology-focused #archInk challenge to Inktober for broader inspiration and engagement. Participation in #archInk has declined, while Inktober remains vibrant and widely supported on social media. This shift illustrates the benefits of joining larger creative communities to maintain momentum and visibility.
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It is that time of the year again: Inktober, a global art challenge that encourages participants to share daily ink drawings, fostering creativity, improving skills, and building a community throughout October. This year, I am excited to join Inktober for the first time. In previous years, beginning in 2020, I participated in #archInk, a smaller challenge centred on archaeological themes (Schlegel 2023). This experience has been highly rewarding, particularly due to the sense of community it fostered within the archaeology field. However, in recent years, I have noticed a considerable decline in participation. Fewer people are actively engaging in the challenge, and the level of interaction has diminished significantly. While I still find value in the act of drawing, my primary audience has shifted from a once-thriving Twitter/X community to a quieter, more personal endeavour.

Fig. 1: A graph from Google Trends showing search trends for Inktober, highlighting peaks during October each year from 2016 to 2023 (Google Trends 2024).

Fig. 1: A graph from Google Trends showing search trends for Inktober, highlighting peaks during October each year from 2016 to 2023 (Google Trends 2024).

Inktober's global reach and broad appeal, especially among hobbyists and professional artists, have ensured its continued success and interest (see Fig. 1), primarily on Instagram. In contrast, #archInk, being a niche challenge, has faced stiff competition from similar archaeology-themed challenges, such as ClassicsTober and Natural Science Version #SciArt. Furthermore, #archInk has primarily relied on Twitter/X, which has also seen a decline in user engagement, compounding the difficulty in maintaining a consistent participant base. Participation peaked in 2019, with approximately 35 contributors, but by 2023, the challenge had only a handful of participants. On Instagram, #archInk also faces the issue of hashtag overlap, as unrelated content like eyebrow inking and architectural sketches dominate the tag, reducing its visibility in the archaeology illustration community.

Fig. 2: A graph showing the participation trends in #archInk from 2018 to 2023, highlighting the decline from its peak in 2019. (Schlegel 2024)

Fig. 2: A graph showing the participation trends in #archInk from 2018 to 2023, highlighting the decline from its peak in 2019 (Schlegel 2024).

Inktober’s ability to maintain visibility and engagement is largely due to its broad appeal and its success in capitalizing on major social media platforms. In contrast, #archInk remains a smaller, more focused challenge, making it more manageable to explore the contributions under its hashtag. It is still possible to scroll through all contributions under #archInk on Twitter/X within a short time, offering a quieter space for reflecting on archaeological themes. There are still a few valuable illustrations under this hashtag that spark deeper thinking about archaeological concepts, yet the diminishing engagement overall has reduced the opportunity for meaningful interaction and inspiration.

The platform choice also plays a significant role. While Instagram is ideal for visual content, Twitter/X lends itself to more conversational engagement. Synthesio data from 2019 (Synthesio 2019) shows that over 75% of Inktober-related conversations occur on Instagram (see Fig. 3), with notable engagement on Twitter/X as well. However, #archInk’s reliance on Twitter/X, which has experienced its own decline, combined with the hashtag dilution on Instagram, makes it increasingly difficult for the challenge to maintain relevance.

Fig. 3: A pie chart displaying the platforms where people post about Inktober: Instagram accounts for 77%, Twitter 20%, and the remainder is split between forums and Reddit (Synthesio 2019).

Fig. 3: A pie chart displaying the platforms where people post about Inktober: Instagram accounts for 77%, Twitter 20%, and the remainder is split between forums and Reddit (Synthesio 2019).

A notable pattern that both challenges share is the drop-off in participation halfway through the month. Synthesio’s analysis shows a 70% decrease in Inktober mentions by mid-October (Synthesio 2019), which parallels the trends I’ve observed in #archInk. This initial enthusiasm, followed by a sharp decline, highlights the challenge of maintaining momentum, especially in smaller, niche-focused initiatives. However, Inktober’s established brand helps sustain participation through the latter half of the month, whereas #archInk, with its more specialized appeal, struggles to keep participants engaged.

Fig. 4: Graph showing the decrease in participation by mid-October in Inktober (Synthesio 2019).

Fig. 4: Graph showing the decrease in participation by mid-October in Inktober (Synthesio 2019).

Despite these challenges, I still consider #archInk to be an important platform for archaeological science communication and illustration. It offers a dedicated space for those passionate about illustrating the past in creative ways. Yet, the data shows that #archInk has been in steady decline since 2019, mirroring broader trends in niche online communities that struggle without consistent promotion and evolving strategies. In contrast, Inktober continues to thrive due to its well-established presence, broad social media engagement, and appeal to artists from diverse backgrounds. While #archInk has untapped potential, particularly with potential collaborations in academia or archaeology, it has yet to fully capitalize on these opportunities.

This brings me to my decision to shift towards Inktober this year. I remain deeply connected to the archaeological illustration community, but I’m also seeking ways to engage with a larger audience and share my work on a wider platform. Inktober offers me the chance to balance my passion for archaeology with a more diverse and engaged community. Through Inktober, I hope to integrate archaeological themes into broader conversations within the art world, potentially even drawing new audiences to these important subjects.

As an illustrator focused on conceptual work and archaeological communication, I believe that participating in Inktober will foster creative growth and community engagement. For those considering these challenges, the decision to participate should always balance personal fulfillment with the desire for meaningful connections. This year, Inktober’s extensive reach and enduring relevance make it the right choice for my own artistic development.

If you’re an illustrator or someone interested in the intersection of archaeology and art, I encourage you to join me in exploring the possibilities of this year’s Inktober. Whether through #Inktober or #archInk, participating in these challenges can be a powerful way to hone your skills and connect with others. Let’s continue to build creative communities—whether broad or niche—that inspire collaboration and dialogue across different mediums.

References

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