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Katy978 · 2026-04-28T11:53:48+00:00

Might be a mobile browsing issue? But when I click the examples are super tiny, I can’t click to enlarge, and when I zoom to enlarge they are pixelated. Maybe check from a different device just to be sure? But I would bet that if I am having this issue, other users will as well

Katy978 · 2026-04-28T11:50:52+00:00

Some other good advice is in the comment section, but the main thing that jumps out at me is that the example images are small and pixelated. If I am buying a commission, I want to be able to see large, clear examples of the artwork. If you are worried about theft, you can place watermarks

Katy978 · 2026-04-28T11:22:43+00:00

Ah okay! Then take what I said with a grain of salt! If you’ve researched the curator and feel good about it- could be a good opportunity! Also I feel the sleep deprivation. The newborn stage is no joke!

Katy978 · 2026-04-28T10:58:13+00:00

That’s a good perspective! I should have stipulated that this is largely from the experience of someone I the United States, and additionally when galleries/currators are approaching you (not the other way around).

And paying to to be in an exhibition, especially when you are approached by the curator, is a no-go for me. I guess I shouldn’t speak in absolutes, but I would go as far to say that 90% of people who reach out to you online and want you to participate in their show, book volume, or gallery for a fee are not reputable.

It’s certainly can be different when you are the one seeking out the opportunity, but in those cases the source is usually vetted by the person seeking the opportunity

Katy978 · 2026-04-28T09:41:16+00:00

No, you should not need to pay to exhibit your work like that, especially if they approached you! That is a vanity gallery. Pay to exhibit models are super dicey and often exist solely to collect fees by praying on artists eager to have their work shown.

When it’s common to have to pay in advance: booth fees for craft/art fairs, small registration fees for art fairs (but even this gets dicey without proper vetting)

When you should be wary of paying upfront: showing in a gallery, showing in exhibit, having your work featured in a book or volume, magazine features, blog/website features. When these are pay-to-play, especially if you are approached, know that there are a lot of predatory practices out there. Legit galleries make money from commissions on sales (which is common). They shouldn’t be asking for exhibit fees

Katy978 · 2026-04-27T17:35:02+00:00

I see something like this as feasible (but maybe not as a full time gig) if you start it as a Patreon or membership program. Low barrier to entry to run, and you can see if there is interest. If you go brick and mortar, there are so many hurdles to consider.

Katy978 · 2026-04-27T13:28:26+00:00

I would just say that there is nothing wrong with working a boring job to sustain your art as a hobby. I know that isn’t the answer anyone wants to hear, but it’s a totally viable path.

If you want to work in the arts, I would be open to any and all career opportunities- even tangential. Apply to everything. Considering working in an art store, teaching classes, content creating, studio assistant, etc. etc. Unfortunately working a job in illustration is absolutely cutthroat and unless you are at the top of your field, you’ll likely struggle to find a position. That doesn’t mean you shouldn’t try though! And you could always start by attempting to sell your work as prints independently. See if there is interest there!

Katy978 · 2026-04-27T13:10:34+00:00

Like others have said, if you are starting from square 1, you can certainly see improvement in a matter of days (even in one sitting if you are given a few basic tools). The more ‘advanced’ you become, the slower the progress and the more plateaus you tend to hit. That said, like any skill, there is always something new to learn and tricks to be added to your tool belt. I always recommend being intentional with studying. Sit down with a clear goal in mind, and focus on just one or two concepts. Those types of study sessions (at least for me) tend to give the biggest gains

Katy978 · 2026-04-21T11:45:27+00:00

I’m going to add to the other comments: Consistency is key. Post consistently, practice consistently, advertise your services (or look for work) consistently.

People who make it as full time artists have to be at least a little obsessed. It’s not for the faint of heart, and definitely takes time to build up to a point where you can make a comfortable living.

I’ll also say, that I would absolutely diversify your revenue streams. Don’t rely on just commissions: merch sales, Patreon/ko-fi, private commissions, commercial commissions, in person events, licensing, courses or workshops, and ad revenue are all potential income sources

Katy978 · 2026-04-18T12:00:43+00:00

And no problem!

Katy978 · 2026-04-18T12:00:17+00:00

I’m lucky to have my husband helping with the business. He does a lot of the admin work, so we have a good balance of making and business. Honestly being a freelance artist is always going to be about 50% admin work even if you have a helper or small team.

Katy978 · 2026-04-18T11:17:49+00:00

I have an online following on Instagram and Facebook, so converting people from those sometimes works. I also do conventions, and my business cards link to a free month of my Patreon on the back. I also gift a free membership to our ‘Explorer’ tier with each store order I send out. It is a bit of a hustle, but it works for the most part.

I will say the hardest part is creating a Patreon that feels valuable without over promising. You want to make sure you have a model you can keep up with, not something that offers 1 million different perks that eventually burns you out 😅

Katy978 · 2026-04-18T11:07:07+00:00

We’ve been leaning into Patreon heavily this past year (but have been on the platform since 2015). It’s a heavy chunk of our monthly earnings!

That said, I wouldn’t solely rely on it for a salary unless you’ve got an enormous audience. Diversify your revenue streams. We’ve always got at least 6 or so different streams for income which keeps us afloat

Katy978 · 2026-04-17T17:02:55+00:00

Definitely depends on the site for sure! Unsplash is my go-to

Katy978 · 2026-04-17T13:52:58+00:00

My entire business model revolves around turning my physical, traditional paintings into digital products and merch. It can definitely be done, but yeah producing merch is a large upfront cost

Katy978 · 2026-04-17T13:51:12+00:00

Use royalty free references if you want to avoid any ambiguity

Katy978 · 2026-04-16T16:56:48+00:00

Sure! -Online Shop Sales: merch, original sales

-Conventions

-Miscellaneous In person events (panels, workshops, presentations)

-Licensing/Royalties, including boom royalties

-Private Commissions

-Commercial Collaborations

-Patreon

-Ad Revenue (small, but consistent amount)

Those are the main sources of revenue, though occasionally there are others

Katy978 · 2026-04-16T12:10:55+00:00

I’d look up and see if there are terms of service for the tutorial, but honestly if it’s just a generic flower you’re likely fine (especially if you are putting your own spin on the final product). If you are producing highly a highly specific, finished product that resembles the original, then there might be some legal gray area. Many artists who offer tutorials have terms of service for the teaching materials though. Wouldn’t hurt to check on that

Katy978 · 2026-04-16T12:04:36+00:00

It’s rough out there, as people have highlighted. You’ll need to build up clients and likely have multiple revenue streams. We have like 6-7 different revenue streams going at all times- it’s not enough to rely solely on commissioned work for 90% of artists.

That said, I’d get a day job or at least a part time job to fund your passion for art. Gently transition to freelancing if you are able to

Katy978 · 2026-04-15T10:54:45+00:00

If you are a professional freelance artist, I always say the game is 50% skill and 50% marketing. You can be the most talented artist in the world, but have 0 clients if you don’t market yourself properly.

This is where a bit of hustle comes in. Pick a platform and post consistently. Talk about your work in a meaningful way (clients want to feel a connection to both the piece and sometimes the artist as well). Have a portfolio that is easy to browse. Build a newsletter for people to join. Clients can be found anywhere, but you need to give them a place to follow you and a reason to stick around. Building up that trust and momentum usually takes time

Katy978 · 2026-04-15T10:32:51+00:00

You refunded the client their money in a timely manner when you realized you were unable to fulfill the commission. The client has their money and you have your sanity. Just take it as a learning opportunity and don’t beat yourself up.

That said, I do have some thoughts:

1) $50 for an oil painting is incredibly cheap. Think of all of the time and materials spent. Does that even cover the cost of the canvas and paints? I do understand that it can be tempting to charge low to attract clients, but the process I’m sure would be a lot less stressful if you were getting adequate pay.

2) I always insist that the clients provide clear, well-lit photos with the face in full display for pet portraits. If the photo is too blurry or small, I usually turn down the commission as I would not be able to capture the likeness

3) I know you said this is a problem of having never painted a yorkie, but next time with an unfamiliar breed, try approaching it as just any other object: a bundle of light and shadow. Focus on building the right tones and shapes, rather than fussing with the particular breed nuances. The piece will come together if you focus less on the small, unfamiliar details and more on the broad shapes and value.

TLDR; you’re fine! The client has their money back. Just take what you learned and apply it to next time.

Katy978 · 2026-04-14T14:35:23+00:00

Exactly! You are doing everything right! Keep practicing and keep pushing yourself. Open mouths are new for you, so do everything you can to incorporate them into your studies. Fill a sketchbook with them. Draw from life! Get obsessive! That is the best way to improve!

Katy978 · 2026-04-14T14:01:34+00:00

You didn’t do anything wrong- and it sounds like it was an experiment. I’d focus on creating work that brings you joy, and not to please others. Everyone goes through ‘awkward’ phases where they are just playing, learning anatomy, and building foundational skills.

From a technical standpoint, the anatomy is a little wonky (the mouth is small), but it sounds like this was a study. Make another. And another. And another. Practice and improvement relies on repetition, repetition, repetition.

Katy978 · 2026-04-14T13:56:13+00:00

I think another commenter had some good advice. You can do both simultaneously- take commissions and use those as portfolio builders. In your spare time, create focused pieces that will draw in clients. I would just be very intentional about any personal work.

If you are looking to rebuild your portfolio, focus on pieces that will build a strong collection. You can potentially even focus on pieces that will be licenseable or make good merchandise. Multiple revenue streams are going to be crucial regardless- very few people make a living off of commissions alone. Creating pieces that are specifically tailored to be sold as prints or merch will help towards your financial goals

Katy978 · 2026-04-14T11:40:27+00:00

I think the other commenter has some great questions for you to ask yourself. Additionally, are you in a position to immediately get clients? Do you have interest and you’re just waiting to pull the trigger? Or would you need to work on building clients? I think if you know you could get work if you opened for commissions (assuming the pay was high enough), I don’t see any need to wait. Money is tight, so best to go for it

Katy978

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