The Artwork Base

22/06/2026

If someone removed your name from your artwork, would people still know it was yours?

If the answer is no, then perhaps the next level of your artistic growth isn't learning another technique.

Perhaps it's discovering yourself.
Because people rarely connect with art simply because it is well-made.

They connect because there is a human being inside it.

And the stronger that identity becomes, the harder your work is to ignore, replace, or forget.
Identity is what transforms an artwork from "a drawing" into "your drawing." It's the bridge between technical skill and lasting value.

Think on that!

19/06/2026

Sometimes the problem is that you've been training to become an artist while neglecting to learn how to become a professional.

That's why I believe artists should learn more than just art.

Learn business. Learn marketing. Learn sales. Learn how value is created and communicated. Learn how successful creatives build careers around their talents.

Because your goal should not only be to become a great artist. Become a great artist who can actually sustain the life they've worked so hard to build.

There are too many talented artists struggling in silence. Don't let your art be the only thing that grows. Grow the artist behind it too.

Blessed Day Ahead!

18/06/2026

As artists, we need to understand value-based pricing.

And even if you don't think it's important for your own career, learn it for the sake of the artists who will look up to you one day. The habits we pass down matter.

I'm specifically talking about the hourly-rate formulas that many artists rely on without ever questioning whether they're the best approach.

Let me put it this way:

Value-based pricing is about selling a Lamborghini at the price of a Lamborghini—not at the price of a bicycle.

It's about recognizing the true value of what you've created and pricing it accordingly.

The reality is that many artists spend years developing rare skills, creating remarkable work, and producing results that people genuinely appreciate—only to sell those works for far less than they're worth.

The problem isn't that artists lack talent. Often, it's that we've inherited pricing methods that focus heavily on time spent rather than value delivered.

And when we undervalue our work, the market learns to undervalue it too.

History is full of examples of artists whose works sold for modest amounts during their lifetimes, only to become worth fortunes later. While none of us can predict the future value of our work, it does raise an important question:

Are we truly pricing based on value, or are we simply pricing based on habit?

Not long ago, I came across a story about an artist who discovered that someone buying his work was reselling individual pieces for amounts that could have purchased dozens more directly from him.

Imagine that.

Someone else had learned to see and communicate the value of his work better than he had.

That's why understanding value-based pricing matters. It's not about charging unreasonable prices. It's about learning how to identify, communicate, and capture the value you've spent years building.

As artists, we invest thousands of hours into our craft.

Maybe it's time we invest some time into learning how to price it too.

Think about that!

17/06/2026

There was a day I came across the commission price list of an artist I had been following for quite some time.

She was updating her rates and decided to share them publicly with her audience.

That post was a wake-up call for me.

Not out of jealousy or pride, but because this was someone I felt I could fairly compare myself to. We weren't worlds apart in terms of experience, audience, or career stage. In some areas, I even felt confident in my own skill level.

But when I looked at her prices...

I was shocked.

The price she charged for a single piece of the same size was roughly twenty times what I was charging.

To put that into perspective, imagine charging $200 for a piece while someone at a similar level is charging $4,000.

Same type of work. Same size. Similar career stage.

And just to be clear, this isn't a story I heard from someone else. This actually happened to me.

I remember sitting there thinking:

"How long have I been undervaluing my work?"

That moment changed something in me.

It wasn't about deciding to charge more simply because someone else was charging more. It was about realizing that I needed to start pricing my work according to the value, effort, experience, and years of practice behind it.

For so long, I had focused on creating better art.

I hadn't spent nearly as much time learning how to value it.

Looking back, that realization was one of the turning points in my journey as an artist.

And honestly, that's one of the reasons I talk so much about pricing today.

Because talent alone isn't enough if you don't know how to position and value what you've created.

Anyway, I thought I'd share that story with you.

It was one of those moments that completely changed the way I viewed my work—and perhaps it might make you pause and think about yours too.

16/06/2026

A few days ago, I shared a post, and one artist left a response that was incredibly harsh.

I won't repeat what was said, but it reminded me of something I think every artist needs to hear:

Protect Your Creative Energy.

Not every opinion, comment, or comparison deserves your attention.

One thing I've learned on this journey is that protecting your mindset is just as important as improving your skills. If something constantly discourages you, drains your motivation, or pulls your focus away from your goals, create some distance from it.

Your creative energy is limited. Spend it on things that help you grow, not things that make you doubt yourself.

Because the truth is, many talented artists don't quit because they lack skill—they quit because they listened to the wrong voices for too long.

And here's another reality:

Not every follower is a supporter.

Some people carry words powerful enough to crush dreams if you allow them to. That's why I'll say it again:

Not every opinion deserves your attention.

There's a reason many successful creators don't spend all day reading every comment. They understand that constantly exposing yourself to negativity can slowly damage your confidence and creativity.

Of course, feedback is important.

But be selective about who you learn from.

Listen to people who understand your goals, people who have experience, and people who genuinely want to see you improve. Good feedback challenges you without destroying you.

And remember: feedback is a tool, not a verdict on your worth as an artist.

Keep creating. Keep improving. Keep believing in what you're building.

Wishing you success in your artistic journey. 🎨❤️

"Don't forget to like my art 😁"

12/06/2026

As an artist, one question I've asked myself many times is:

"What value does my work actually bring to the world?"

Sometimes it's hard to see. I find myself wondering, How can my art become something people truly need and not just something they admire? Because if I can answer that question, I'll know I'm creating something meaningful—not just drawing for the sake of drawing.

I want to build a career and income from a place of solving problems and making an impact. I didn't want to spend years learning and developing this skill only to later realize I invested so much into something that can't even help me pay my bills.

And I know I'm not the only one who has these fears.

In fact, many artists quietly struggle with the same thoughts. Recently, someone reached out to me with a similar concern, and hearing their story genuinely broke my heart. It's painful to see talented people question whether they should keep going.

So if this is a battle you're fighting too, I'd love for you to join me on this journey.

One of the reasons this platform exists is because I believe artists deserve more than just survival—we deserve to succeed.

Let's keep learning, growing, and figuring this out together.

No quitting.

12/06/2026

10/06/2026

We've heard people talk a lot about the importance of positioning in an art career—and they're right. Positioning matters. It helps people understand who you are, what your work stands for, and what makes you different. Without it, it's easy to get lost in the crowd.

But there's a side of this conversation that doesn't get talked about enough.

Sometimes, artists become so focused on maintaining a certain image, style, or identity that they stop allowing themselves to explore. They become afraid to try something new because it might not fit the "brand" they've built.

Before they know it, what was supposed to give them direction starts feeling like a cage.

Positioning should help people recognize your work—it shouldn't stop you from growing. It should provide clarity, not creative restrictions.

The strongest artistic identities aren't usually manufactured. They emerge naturally from the themes, questions, emotions, and ideas that keep showing up in an artist's work over time. You don't force them—they reveal themselves.

And audiences can tell the difference.

When an identity is built just to follow trends, it often feels fragile. But when it grows from something genuine, it feels authentic—like the work couldn't have been created by anyone else.

So dear artist, embrace positioning, but don't worship it.

Leave room for curiosity. Leave room for experimentation. Leave room for surprise.

After all, you're a creative. Your imagination was never meant to live inside a box.

And if you do choose a box, make sure it's big enough for you to keep growing.

I hope this speaks to someone today.

09/06/2026

Some artists have messaged me saying they’re tired… that they’re close to quitting art completely. And honestly, I understand them because this path can be heavy.
‎
‎From the outside, people may think we artists have everything figured out. But deep down, many of us know the truth: Without God, we wouldn’t have made it this far.
‎
‎So today, let's take a moment to appreciate the ones who continue showing up despite the uncertainty, the slow seasons, the financial struggles, and the countless moments of doubt.
‎
‎People often see the artwork, but they don't always see the courage behind it.
‎It takes a special kind of faith to keep creating when the future isn't clear.
‎So today, let's take a moment to appreciate them—it might be someone you know personally or follow online.
‎
‎Take a moment to appreciate them. Their journey is probably harder than it looks.
‎

08/06/2026

Sometime back I posted a drawing I'd made and somebody asked me the type of paper I use, and what the best art paper to use was.

My response was this:

There isn't really a single "best" paper. There is only the best paper for the job you're trying to do.

Just as you wouldn't use watercolor paper for oil painting, you shouldn't expect every drawing paper to perform the same way. Printer paper, sketch paper, cartridge paper, Maya, Bristol board—each was created with a different purpose in mind.

One mistake many artists make (myself included at some point) is focusing entirely on pencils and techniques while paying little attention to the surface beneath them. Yet that surface influences everything: how dark your values can get, how well you can erase, how much detail you can achieve, and even how professional the final artwork looks. 

Sometimes the issue is that the paper you're using wasn't designed for the results you're expecting from it.

For practice, studies, and daily exercises, sketch paper or cartridge paper is usually enough. It's affordable, accessible, and allows you to focus on developing your skills without worrying about wasting expensive materials.

For finished graphite drawings, especially realism and portrait work, papers like Maya and Bristol Board are excellent choices. Maya offers a smooth surface with enough tooth to build layers and achieve rich values. It's a great balance between performance and affordability.

Bristol Smooth, on the other hand, is often considered one of the best surfaces for hyper-realistic work. Its ultra-smooth finish allows artists to render incredibly fine details—skin textures, eyelashes, hair strands, reflections, and subtle transitions that can be difficult to achieve on rougher papers.

But even Bristol isn't the "best" in every situation. If you're working with charcoal, heavily layered graphite, or subjects that benefit from texture, a paper with more tooth may actually serve you better.

Anyway, a skilled artist can create something beautiful on almost any surface. But an informed artist knows which surface gives them the greatest chance of success.

That's enough for today! 

I'd like to know though...