Commissioning a flower painting is not only about choosing something beautiful for a wall. The right piece can become part of the emotional atmosphere of your home - something that steadies you, comforts you, and quietly gives back to you every day.

If you are considering a custom floral painting, the most important thing to know is this: you do not need to come in with all the answers.

You do not need to know your exact flower, your exact size, or even the full story behind why you want one.

Sometimes a commission begins with memory.

​Sometimes it begins with meaning.

​And sometimes it begins with the simple experience of falling deeply in love with an image.

A flower painting can be more than decoration

Many people begin the commissioning process thinking they are purchasing a tangible item - a painting in a certain size, with certain colors, for a certain room. That is part of it, of course. But in my experience, a meaningful flower painting offers something much deeper.


These paintings can help ground an upset emotional state. 

They can nurture. They can stabilize. They can reconnect you with a truer, calmer part of yourself. That may sound difficult to explain in practical terms, but it is something I have seen again and again - both in my own process and in the way collectors respond to the finished work.

When I paint, there is a psychologically healing aspect to the process for me as the artist. I work from photographs I have personally taken of the flowers, so the relationship begins long before the brush touches the canvas. Beyond color and form, I believe floral art can touch something spiritual in us - something that is hard to put into words, but immediately felt.
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One client once told me, "If I had a super power it would be to find the words for how your work makes me feel." That says so much about what art can do when it moves beyond surface beauty.

You do not need to have a favorite flower

This is something I feel strongly about.

Some people come to a commission with a very personal flower in mind - a bloom from a grandmother's garden, a flower from a wedding bouquet, or something tied to a memory they have carried for years. Those stories are beautiful, and they can make for deeply meaningful paintings.

But you do not need a sentimental flower story in order to commission a piece that matters.
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Sometimes the right painting begins because you are captivated by the color, the scale, the softness of the petals, or the drama of a bloom opening fully into itself. Sometimes you see an image and know, instantly, that you want to live with it. That kind of recognition is enough. In fact, it can be the beginning of meaning all by itself.
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A flower painting does not have to illustrate a memory from your past. It can also express the life you are ready to claim now.

​The right commission should feel personal, even if it starts with beauty alone

The women I most often imagine when I write and paint are those who have given so much of themselves - to family, to work, to caregiving, to responsibility - and are finally ready to choose something extraordinary for themselves.

Not frivolous. Not impulsive. Meaningful.

A commissioned flower painting can be a way of saying:

• I want beauty in my daily life.
• I want my home to support me.
• I want to be surrounded by something that feels nurturing and alive.
• I am ready to own something that reflects depth, feeling, and presence.

That is why commissioning art is not just a design decision. It is often a personal threshold.

Trust the emotional pull as much as the practical details

There are practical questions that matter, of course. You will want to think about scale, timing, and investment.

If you are wondering how large your painting should be, this guide on what size your flower painting should be will help you think through the relationship between artwork and space.
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If you are curious about timing, you can read more about how long it takes to paint a custom floral artwork.
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And if cost is one of your biggest questions, this article on how much a custom floral painting costs will give you a clearer sense of the investment.

But alongside those practical considerations, I would encourage you to pay attention to something else: your emotional response.
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Do you feel drawn in by the image? Do you keep thinking about it? Does it feel like something in you softens, opens, or settles when you look at it?
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That matters.

​A commission should give back to you for years

One of the biggest misconceptions about original art is that people evaluate it only at the moment of purchase.

They look at the price and ask whether it is "worth it."

I think that question is too small for what original art can do.

A meaningful flower painting is not something you enjoy once. It becomes part of your daily life. You pass by it in the morning. You see it after a long day. You live with it through seasons of change. Over time, it can become one of the most constant and generous presences in a home.

That is why I see these paintings as heirloom pieces. Their value is not limited to the day they arrive. They keep giving over the course of years.

One commission showed me just how powerful this can be

I once worked with a client in New York State whom I had never met in person. She was going through an intensely painful marriage breakup. Her husband had been unfaithful with another employee in the business they had built together, and after the separation she still had to keep working in that same business. Her livelihood depended on it, but the emotional strain was enormous.

She needed something to help her through that transition - something that could hold beauty, strength, and emotional resonance in her space. To give her a sense of hope for the future she was going to design for herself. 

She chose an Itoh peony, with thin, translucent petals in coral and peach tones. I created the painting and shipped it to her in New York State. When she opened it, she cried because of how beautiful it was. She was deeply grateful, and the piece became part of what supported her in that chapter of her life.

That same painting later reached far beyond the original commission. When I shared it online, it received more than 7,500 reactions, shares, and comments.

What moves me about that is not only the number. It is the reminder that beauty has impact. One painting supported one woman in a deeply personal way, and at the same time it moved thousands of people around the world.

Cost can feel like a barrier, but it does not have to be

For many people, the desire for a commissioned painting is immediate, but the financial decision takes longer. That is normal.

There is no shame in needing time to pay for something meaningful.

If a piece is right for you, a payment plan can make it possible to bring that work into your life without unnecessary pressure. For example, a $2,000 painting spread over 12 months is about $166 per month. That can make a custom piece far more accessible than many people first assume.

The point is not to minimize the investment. The point is to recognize that value and timing are not always the same thing. Sometimes the artwork you truly want is within reach with the right structure.

​Before you commission, ask yourself these questions

Before moving forward, it can help to reflect on a few things:

• What do I want this painting to make me feel? Calm, strength, joy, softness, hope, groundedness?
• Am I choosing from memory, symbolism, or pure attraction to the image? All are valid starting points.
• Where do I want this work to live? A bedroom, hallway, living room, or personal retreat space can each call for something different.
• Do I want a piece that blends quietly into the room, or one that creates a powerful emotional focal point?
• Am I ready to live with something that carries real presence? The best commissions are not background objects. They ask to be felt.

You are allowed to choose beauty for yourself

If you have spent years caring for others, working hard, compromising, or postponing your own desires, commissioning a painting can feel surprisingly vulnerable. It asks you to admit that beauty matters to you. That your environment matters. That how you feel in your home matters.

I believe that is not indulgent. It is important.

Whether you come with a beloved flower full of personal history or simply fall in love with an image that feels magnificent and unforgettable, that impulse is worth honoring.

If you are not ready to commission yet but want to stay close to the work, join my list here:
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And if you already feel the pull toward creating a piece together, you can book a commission call here:

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The right flower painting does not just fill a space. It can change the feeling of living inside it.

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Bigger walls ask for bigger thinking

If you have a large wall - say 13 feet long with 12-foot ceilings - a tiny painting hung by itself is almost never going to feel satisfying.

That doesn’t mean small work isn’t beautiful. It simply means that scale matters.

Large spaces need art that can stand up to them.

Sometimes that means one dramatic statement piece. Sometimes it means a carefully composed grouping. But either way, the art needs to feel like it belongs there. It needs to have enough presence to hold its own.

I think people often underestimate scale. They fall in love with a painting, then get it home and realize it simply doesn’t do what they hoped it would do in the room.

A painting can be beautiful and still be too small for the job.

How long does it take to create a custom painting? - click here

The wall is never just a wall
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This is something I talk about often with clients.

When you’re choosing the size of a painting, you’re not looking at an empty rectangle in isolation. You’re looking at a living room, a hallway, an entry, a bedroom - a space with furniture, lamps, shelves, architecture, and real life happening inside it.

If you’re hanging a painting over a sofa, for example, you want enough breathing room between the sofa and the artwork. You don’t want the piece crowded. You don’t want furniture pushed right up into it. And you certainly don’t want the painting hanging in a way that feels awkward or vulnerable to being bumped.

I also pay attention to what else is happening at eye level. That band of space on the wall is valuable real estate. If lamps, shelving, or other objects are already pushing into that zone, the art has to be arranged with care so everything feels balanced rather than crowded.
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A well-placed painting doesn’t fight with the room. It completes it.

One large piece is wonderful - but so is a grouping

People sometimes think the answer has to be one large showstopper, and sometimes that is exactly right.

A large floral painting can be incredibly immersive. It can make you feel as if you could almost reach out and touch the petals, smell them even. That kind of presence is powerful. It changes a room.

But I also love the flexibility of smaller works.

If the wall is large and the budget doesn’t allow for one major piece yet, several smaller originals can be grouped together in a really interesting and beautiful way. Over time, those works can be moved, separated, regrouped, and enjoyed in other areas of the home.

That is one of the things I love most about original art. It grows with you.
It is not fixed. It is not one-and-done. It can move with the seasons of your life, the changing needs of your home, and the way your eye evolves over time.

Budget matters - but expectations matter too

I wish more buyers understood this: for your budget, there is a perfect painting. It just may not be for the wall you first had in mind.

Big dramatic walls usually require big dramatic art, and if you're wondering what that kind of investment typically looks like, you can read more about how much a custom floral painting costs

That’s okay.

It doesn’t mean you should buy something too small and hope it somehow works. It may mean choosing a different wall for now. It may mean investing in several smaller pieces that together create beauty and impact. And later, when the budget allows, you may choose a larger piece for that statement wall.
The wonderful thing is that original artwork never goes to waste.
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Those smaller paintings can later be moved into a hallway, an entry, a bedroom, or grouped in new combinations throughout the home. Original art has longevity. It keeps giving. It keeps finding new ways to belong.

I don’t think art should be chosen to "match"

This may be a slightly unpopular opinion, but I think too many people try to make original art match what they already own.

I don't believe art is only about decorating. I believe art should be an experience. That difference is part of what separates simple floral decor from fine art floral paintings.

They try to coordinate it with the sofa, or keep it visually in line with older decorative pieces, or make sure it doesn’t stand out too much.

But when you bring an original painting into your home, especially a beautiful one, it elevates the whole space.

It deserves to be celebrated.

It deserves pride of place.

That doesn’t always mean the biggest wall in the house. Sometimes the perfect place is the entry wall that greets you when you come home. Sometimes it’s a quiet hallway that needs light. Sometimes it’s a smaller corner that becomes transformed because of one exquisite piece.

Original artwork doesn’t always need to be the showstopper. Sometimes it is the quiet beauty that changes everything.

Art should move you

This is the part that matters most to me.

I don’t believe art is only about decorating. I believe art should be an experience.

It should make you feel something.

It should bring beauty into your home in a way that supports your life. It should remind you of something meaningful. It should soften your nervous system. It should create moments where you exhale a little more deeply and feel a little more present in your own space.

I have seen this happen in such moving ways.

One of my clients was caring for her husband, who has dementia. She purchased one of my white peony paintings, and later told me that he would sit in front of it with a smile on his face, simply taking in the beauty. She thanked me for the moments they were able to share there - moments of connection, love, and peace.

Another client bought a painting sight unseen from a source photo on my website because it reminded her so strongly of her grandmother’s garden. She was building an addition onto her house and knew that painting had to be part of the new space.

If you're creating a new space and thinking about commissioning something meaningful for it, you may also want to read about how long it takes to paint a custom floral artwork.
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This is why choosing the right size matters. Because when a painting truly speaks to you, you want it to have the presence it deserves in your home.

For the women creating spaces that hold them

I especially think about women when I write about this.

Women who are carrying a lot. Women caring for children, elders, partners, households, health concerns, responsibilities, transitions, and all the invisible emotional labour that so often goes unspoken.

I want women to have spaces that support them.

Spaces that restore them. Spaces that remind them that beauty is not frivolous - it is necessary.

There is something powerful about living with nature-inspired beauty. Flowers, in particular, bring a softness and vitality that can shift how a room feels and how we feel within it. Our heart rate slows. We breathe differently. We feel more grounded, more joyful, more at ease.

That matters.

A flower painting is never just something to hang on the wall. It can become part of the emotional atmosphere of a home.

So, what size should your flower painting be?

Choose a size that allows the painting to truly belong in the space.

If your wall is asking for presence, give it presence. Buy the largest piece your budget will allow. And if that isn’t the right option right now, break that budget into several smaller pieces and create something beautiful with them.
Let the painting relate to the room. Let it have breathing room. Let it be seen. Let it be felt.

And most of all, choose the piece that moves you.

Because when you choose artwork that stirs something in you - something tender, joyful, calming, or alive - you are not just decorating.

You are creating a home that nourishes you.

And you will never regret that.
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If you want this even closer to your natural voice, the next step is to make it sound more like how you speak in person - a little less polished, a little more intimate, and a little more distinctly you.

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People ask this question often, and the truth is, it is not as simple as naming a number of hours or days.

There is a process, of course. But the time it takes to create a custom floral painting depends on something deeper than size alone. It depends on the complexity of the bloom, the strength of the image, the surface I am working on, and something even harder to explain - the moment when the painting begins to truly come alive on the canvas.

Most people assume a larger painting will always take longer. Sometimes that is true. But often, it is the flower itselfthat determines the timeline far more than the dimensions of the canvas.

I can paint a large flower with generous, open petals much more quickly than I can paint a smaller or same-sized piece featuring a complex peony. A peony, with all of its folds, layered petals, subtle shifts, and internal movement, can take me three to four times longer than a simpler bloom. That is because I am not just painting a flower. I am trying to translate its presence, its energy, its softness, its drama - and that takes time.

It Always Begins With the Image

Every painting begins long before I ever touch a brush to canvas.

I work from photographs that I have taken myself, or sometimes from a client's personal photo collection. I am extremely selective about what I choose to paint. The lighting has to be beautiful and interesting. If the light in the source image is flat, the painting will be too. I also will not paint just any flower. Some varieties simply do not speak to me in a way that makes me want to live with them for the many hours a painting requires.

When I find an image that has something special in it, I bring it into Photoshop, but only to crop it. I do not manipulate the colour or enhance the photograph. I don't want a computer-improved version of nature. I want the original moment - the one that first caught my eye - because that is where the truth is.
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Cropping is a very important part of my process. I am not simply trimming an image to fit a canvas. I am searching for tension, for drama, for movement. I am looking for the lines that pull your eye inward, the shapes that create contrast and feeling, the shadows that make the whole image more powerful. I want to remove anything that doesn't serve the painting. I want to find the main point - the pulse of the image, really - and make sure the viewer feels it.
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Then the Real Work Begins

Once I have chosen the final crop, I calculate the ratio of the image and decide on the canvas size that best honours it. If the composition calls for an unusual format, I make it. I custom cut stretcher bars in my woodshed and build the canvas to suit the image rather than forcing the image into a standard size.

Then I stretch a thick canvas over the frame and begin preparing the surface. First I apply a sizing medium to seal the canvas. Once that is dry, I apply three coats of gesso, sanding between each one. This creates the kind of surface I want to paint on and also protects the canvas from the acidity of the oil paint.

After that, I transfer the image to the surface, either by using a hand-drawn grid or, for larger pieces, a projector. A grid is beautiful and exacting, but on a large painting it simply becomes inefficient. The projector allows me to spend my time where it matters most - in the painting itself.

Only then do I begin to paint.
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Sometimes I start at the top left and work my way across. Sometimes, especially with complicated peony paintings, I begin with the entire background first. I need to understand the world the bloom is living in before I can fully understand the bloom itself.
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A Painting Is Built One Decision at a Time

I think this is the part many people do not realize.

A painting is not made in broad, dramatic gestures alone. It is made through a myriad of decisions, one after another, one brushstroke at a time.

I do not use a palette knife to quickly cover large areas. I use brushes ranging from 3/4 of an inch wide down to brushes with only a few strands of hair. Every edge, every nuance in colour, every soft blur in the background, every turn of a petal, every shift from light into shadow is created deliberately.

That takes time.

It takes focus. It takes patience. It takes skill. And it takes a willingness to stay with the painting long enough for it to become what it wants to be.

Even though I work in oils, drying time is usually not the thing that slows me down. I paint in thin layers and move slowly across the entire surface, so by the time I return to an earlier section, it is often dry enough to continue. What takes the time is not waiting. What takes the time is seeing, deciding, adjusting, and bringing something believable and moving into a two-dimensional surface.

For Commissioned Work, the Decisions Begin Early

To inquire about a commission  - message me

When I create a commissioned painting, there is a thoughtful conversation at the beginning where we decide on the important details. That part matters deeply, because once the painting has begun, it is very difficult to make anything other than subtle changes.

I do share progress images with clients, but not as an invitation to rework the structure or colour of the piece. By then, those decisions have already been made. I share the images so the client can feel connected to the creation of the work, and so they can witness their painting coming into being.

That, too, is part of what makes a custom piece special.

How much does a commissioned piece typically cost?
​Check out this blog post. 

So, How Long Does It Take?

My most honest answer is this: it takes as long as it takes for the painting to arrive.

There is a technical process, yes. But beyond that, the timing depends on when the energy and emotion begin to fully live on the two-dimensional surface - when you can feel the three-dimensional presence of the flower, and when the painting begins to breathe in its own way.

Some paintings come more quickly. Others ask much more of me.
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But none of that time is wasted. Every hour is part of building something that feels alive.
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These Paintings Are Not Decor

This is something I feel very strongly about: the paintings I create are not decor.

They are life-enhancing experiences.

They change the way people live in their homes. They change the feeling of a room. They bring beauty, grace, love, hope, and energy into a space in a way that is hard to explain until you have lived with one.

You cannot walk into a room with one of my paintings and not be changed by it.

I have seen this happen. One woman purchased one of my paintings at a floral fine art show because, out of nearly 150 paintings in the room, it was the only one that made her feel better. She was facing a cancer diagnosis and knew that painting needed to be part of her healing journey.

I have never forgotten that.

That is why I do not think of these works as simply decorative objects. They carry something deeper than that. And that is also why I cannot measure the making of them only in hours.

A custom floral painting takes time because it is made with care, with discernment, with technique, and with heart. It takes time because I am not interested in simply copying a flower. I am interested in creating a painting that holds presence. A painting that moves someone. A painting that changes a space, and perhaps even the person living in it.

If someone asks me how long it takes, that is the truest answer I can give.
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​To see the available paintings in my collection: Click here

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What Makes a Floral Painting Powerful?

For me, a compelling floral painting is not about including more. It is about knowing what to leave out and what to emphasize.

Every painting contains details that do not serve the emotional truth of the piece. Those details need to be removed. Other elements need to be amplified so that the painting can truly sing.
That often means paying close attention to:

• the direction and quality of light
• the relationship between highlights and shadow
• the emotional effect of color
• the placement of the focal point
• the gesture of the bloom itself
• the removal of visual distractions
• the balance between realism and emotional intensity

Drama is often created by pushing the dark tones, or by photographing blooms in the deep shadows of early morning or late in the day. Those shadows can create a richness and mystery that brighter, flatter lighting cannot. They invite the viewer closer. They ask for attention. They make the bloom feel more dimensional, more intimate, and more emotionally alive.

A Case Study: "You Win, Promise"

One painting that exemplifies this beautifully is You Win, Promise.

It is a single fuchsia peony bloom draping toward the bottom right corner of a 24 x 36 inch canvas. Directly behind the bloom are leaves cast into shadow by the main flower, creating a beautiful contrast behind the focal point. In the top left of the painting, more leaves appear, but they are touched by brighter light. The lower portion of the composition contains the glass vase holding the bouquet and the dark table beneath it.

What the viewer notices first is unmistakable: the main bloom.

There is no confusion about where the eye should go. The center of the peony is turned down and to the right, revealing itself without confronting the viewer head-on. That posture matters. A flower facing directly forward can sometimes feel almost too assertive. This bloom does not do that. Instead, it carries a kind of humility-- Grace. 

It says, in its own quiet way, I know I am magnificent, but I do not need to shout.

That emotional quality is part of the painting's power.

I removed all the information that was not necessary for the main bloom to shine. There are no extra details on the table. Only enough foliage remains to give the flower context. Only enough light is present to let the viewer feel the warmth of sun coming through the window and resting on the bloom.

That warmth matters. I want the viewer to feel it, not merely see it.

The emotional aim of this painting is not small. I want the viewer to cry. I want them to be moved to tears by the beauty of it. By the volume of the bloom. By the delicious pink color. By the deep shadows in the petals. By the quiet dignity of the flower's presence.

That is what fine art floral painting can do when it is working at its fullest level. It does not just depict a flower. It creates an emotional encounter.

Why This Difference Matters to the Woman Who Needs Joy Again.

For the woman I imagine reading this, this conversation is not only about art categories. It is about what beauty can do in a life that has become heavy.

She may be carrying health challenges. She may be caring for someone else while quietly exhausting herself. She may be living through endings she never asked for. She may simply be longing for relief, softness, ease, and some return of hope.

In that season, beauty is not trivial.

It can be medicine of a certain kind. Not a cure, but a comfort. Not a solution, but a reminder that tenderness still exists. That joy is still possible. That the soul can still respond to light.

Fresh flowers can absolutely offer that. They can brighten a kitchen counter, a bedside table, an entryway, or a dining room for a few precious days. But a floral painting offers something different. It remains. It keeps giving. It continues to meet the viewer in the ordinary moments of life.
It can become part of the emotional atmosphere of a home.

It can remind a woman, on an otherwise difficult day, that beauty has not left her life.

Interested in commissioning something special? I've published a blog post about how commissions work. Check it out

 If you'd like to speak with me about creating something special for you, you can do that here.

Floral Design and Floral Paintings Are Not in Competition

I do not see floral design and fine art floral painting as rivals. They each honour flowers in their own language.

Floral design gives us the living presence of the bloom in time and space. It celebrates immediacy, event, atmosphere, and seasonality. Fine art floral painting takes that same source of beauty and carries it into permanence. It allows the feeling of the flower to remain available long after the living arrangement has passed.

Both have value.

But if you are someone who wants more than a passing moment of beauty, if you want to live with beauty in a way that continues to restore you, then a fine art floral painting offers something uniquely enduring.

Final Thoughts on the Difference
The difference between floral design and fine art floral paintings is not simply that one uses real flowers and the other uses paint. The deeper difference is this: floral design creates beauty for a moment, while fine art floral painting preserves beauty so it can keep speaking to us over time.

That is why I do what I do.

I am not only interested in painting flowers. I am interested in capturing the light, shape, drama, tenderness, and emotional truth of a bloom so that someone can live with that experience for years. I want the painting to draw them in, awaken something in them, and offer them a sense of hope, joy, and relief.

Because sometimes a flower is not just a flower.

Sometimes it is a way back to beauty.

​Join my email list to be the first to know about new works, receive studio updates and specials. 

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What was once the most expensive flower? Click here

To see more of my work Click here.

Who commissions custom floral paintings?
The people who are most drawn to my work are often strong, sensitive women who deeply value family, home, and health. Many are caring for children or parents, working full-time, and carrying a great deal for others.

What they are often craving is not just something pretty for the wall. They want an environment that restores them. They want beauty that lifts their spirits, recharges them, and reminds them of possibility.

A custom floral painting can become part of that daily emotional landscape - something that brightens a room, softens the atmosphere, and reconnects them with beauty every single day.

Are custom floral paintings worth it?
In my view, absolutely - if what you want is more than decoration.
An original piece of art carries the hands and soul of the artist. It creates an experience for the viewer that cannot be replicated by a print or mass-produced wall art. One of my clients once said:

"If I had a super power it would be to find the words for how I feel when I'm in front of one of your paintings."
That is the difference.
Original artwork can touch someone on a soul level. It can shift the feeling of a space and the feeling within the person living in it. It can also become a legacy piece - something that remains meaningful and relevant over years and decades, rather than fading, deteriorating, or falling out of style.
When you invest in original art, the return is not only visual. It is emotional, personal, and lasting. Over a lifetime, the cost becomes negligible compared with what the piece gives back every day.

Here are some typical commissioned artwork sizes and prices.                           
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Final thoughts
If you are wondering how much a custom floral painting costs, the practical answer is: it depends on size, framing, and the level of customization. In my studio, that means anywhere from under $1,000 to over $10,000.
But the deeper answer is that you are not only paying for canvas and paint. You are investing in years of artistic training, highly developed technical skill, emotional sensitivity, and a piece of beauty created specifically for your life and home.
A truly custom floral painting is not just something you buy. It is something you live with, grow with, and treasure.​

To explore a commission piece : Click here

I think there is a mindset shift that needs to happen from creating and selling your original works to moving into a print based model.  The prints are actually a commodity - something you can produce many copies of without inputing new creative energy.  In my mind you have to think about the prints as a totally different entity. They are not your originals.  They will not have the same sheen as an oil or acrylic painting. The colours while accurate in the print will not be exactly the same lustrous quality of the original.

Once you change your mind about the product you can fully embrace the opportunity.  

Make sure these two things are in place in your practice. 
#1 Get really great images of all the originals. You want to leave your options open for a print side of your business in time.  
#2 Disclose at the time of purchase that the artist retains the rights to the copyright and reproduction of the image.  The client doesn't have the privilege to decide that, unless you sell them the copyrights at a might higher amount.  I have a statement on my certificate of authenticity to that effect. In my experience, no client has ever has a problem with me selling a smaller print reproduction of their original painting.  

The way I see it, there are few ways that prints are currently being marketed.

1) The print club model which is $12-$20 per month and you receive a 5x7 print of someone's artwork or a collective of artists share their work through the subscription. Nicely packaged, sometimes with bonuses like stickers or colouring sheets included.  Almost all have a note from the artist(s), some story to contextualize the art work. 

2) Fine art prints limited edition, limited window to purchase, like 24 hours or so.  These can be giclee - print on canvas, or paper prints.  Usually larger in size than the print club model.  One artists has multiple sizes, or print materials to choose from, however, his prints are limited to only this release date, sort of.  I say sort of, because he could re-release that same print but with some significant change, like the artist painting directly on the print and each piece of additional painting is different. 


In both cases, these models rely on the one-to-many principle.  You produce one item that you sell to many people. This works pretty well, like exceptionally well, when you have the audience already gathered. 


One case in point is Devon Rodriguez.  He is a New York based artists who is masterful at painting portraits in the New York subway tunnels.  He has now moved into travelling to popular destinations and capturing an iconic view in watercolour.  He produces a large watercolour print 18 x 24", I think, then her releases that print to his audience.  Here's where it gets interesting.  Devon has one of the largest social media followings, 9 Million followers on Instagram.  He sells his prints for $199 USD. He produced, at first 250, and when Nona (Grandma) said "do 500", he listened.  When he releases the print, they have been know to sell out in 7 minutes.  Let's do the math.  500 x $199 = $99,500. Now he does have printing costs, of course and I believe shipping is on top of the purchase price.  All sales are final.  

Here is Devon Instagram link if you'd like to follow him: Click here

​This model works, but I think the reason it works is because his work is consistent, and he has the following to support these print drops. (9.5 Million followers on Instagram, at the moment)


What I find interesting is the idea that this model could work at a smaller scale, depending on your audience and the product you are promoting.  

Here's another example.  Mark Maggiori.  An amazing painter, born in France, living in Arizona.  He creates spectacular, large, original paintings that mostly sell in an auction format in partnership with a gallery.  His originals have sold for 6 figures each.  $250,000 is not uncommon for one of his originals.  

Where the prints come in is twice a year he does a print drop.  These are prints of his original paintings in various sizes on various materials - paper, or giclee prints.  He has a time limited window to purchase prints and an open edition during that time limit.  Which mean he doesn't have a set number, he prints what is ordered, but once the sale closes, that determines the print number of copies.  

Here is Mark's instagram page: Click here

​Mark has 886,000 followers on Instagram at the moment. 

While these two artists have large followings on social media. I think the model would work nicely for smaller audience sized. 

My thought is: What's the smallest audience that would make this project viable?  If you could earn an additional $1000 per month from a print subscription would it be worth it to you?  If you had 144 people paying you for the subscription you'd earn ~$1000 after expenses.  

Monthly subscriptions programs seem to be working pretty well. What it looks like from the customer sided is that they pay $14- $19/month, with a $2 additional charge for International orders.  Each month they will be sent a limited edition print from the artist. 

From the artist side, the cost to produce/package/ship the print is about $12 depending how fancy you get with additional packaging materials. This leaves a $7 profit per subscription.  Doesn't seem like that much.  However if you have 100 people on the subscription plan that's now a $700 payday each month.  Pretty nice.  

Now expand that to 1000 people, now you are getting $7000 a month.  That's a viable income.  You will also save on printing costs as you will be printing a higher volume. 

Time wise you are likely going to spend about a week on this project, between ordering the prints, picking them up, or having them shipped, packaging and sending them out.  

The way I see it, for a weeks worth of work you would have a sustainable income that would allow you the freedom to create in your studio without the worry of the bills. 


Another twist to this, is collaborating with other artists who also contribute a print.  Artist A, includes their own art and a piece from Artist B.  Artist B is getting exposure to Artist A's people. Artist B then sends their art with a piece of Artist A's work, giving artist A exposure to Artist B's connection.  

This is where we start to leverage the communities that other people have built.  Growing together.  

Two notable print subscription are: Pocket____ art.  Click here to see their page

Here is another artist to check out with a print club: Click here

​
Here are my thoughts on print clubs.  Go speak to your local printer and see what it would cost to print 5x7 quality prints.  My printer charges about 1.46 each, less if I print more.  You will need some tissue paper, stickers to seal the tissue, an envelope to ship in and some postage.  Pretty straight forward.  You should be able to keep costs down to $5-6 each. You set up a subscription plan on Square.  Do you have Square?  It's a secure credit card processing service that allows you to set up subscriptions.  Let me know if you are interested in learning more about how to use Square.  I'll be doing a simple video guiding you through all the many features that Square provides.  Message me at: studio@cielellis.com. if you would like me to share the video with you. 


Then it becomes a process of promotion to your list, followers, contacts and see if people are interested in joining your print club.  

The other suggestion would be to do a quarterly mail out if monthly seems like too much.  

Start small, test things out, understand your costs/profits, commit to a year to let it grow and see if it turns into something. 

Have fun.  

Most of all you will be getting your art into the hands of people who might become buyers for your original art work.  

​

In the 1600's tulips were said to cost 10 times a working man's salary in the Netherlands, making them more costly than some houses.  

Very interesting. 

I went digging a bit further to find that tulips did not originate in the Netherlands even though they are the largest producer of tulips.  

The tulip originated in Persia and Turkey and were likely transported to the Netherlands during early trade relations.  The tulip played an important role in the culture and art of Turkey and Persia, including being worn tucked into the turbans. And the name tulip derives from the Persia word for turban. 

Once back in the Netherlands, tulip frenzy hit, crashing markets in the 17th Century.  

There are over 150 species of tulips with over 3,000 different varieties. Here are a few. 

Let me say a bit more about this amazing painting/print. 
It's a peek into the heart of a delicate flowers that captures life's quiet moments.

It explores how art reveals the beauty of being authentically you, one brushstroke at a time.

This artwork is like a whispered secret - inviting you to lean into those intimate life moments where vulnerability meets strength. Just like a tulip stretching its petals, it reminds us that true beauty isn't about perfection, but about being real and raw.

Every brushstroke tells a story of personal discovery, diving deep into the complexity hidden beneath a seemingly simple surface. It's an invitation to find meaning in life's subtle nuances and embrace your unique journey.

I've transformed an ordinary subject into an extraordinary exploration of self-acceptance, challenging you to see the profound in the simple and celebrate your own path of self-expression.
A limited edition print that captures a moment of pure artistic insight.

​This exclusive piece offers a rare glimpse into my emotional landscape and hopefully see yourself in the tender moments also.  This piece has been carefully crafted to spark deeper understanding and personal reflection, with only 100 copies available, in each size, to truly honour the uniqueness of artistic expression.

Celebrating the art of being beautifully, imperfectly human.

To purchase a copy: Click here

If you think about it, it has to be.  Art is only created when the artist takes time to explore what they selfishly are interested in.  For me it's flowers, for others it's political statements, or justice issues, or pastoral landscapes, or abstract compositions.  Why do any of us make anything?  Because it is interesting.  It fulfills some desire within our curiosity. It's something worth spending time with.  Which actually means that we are worth spending time with.  After all the art that we make is a reflection of the person who created it.

Have you paid attention to the evolution of an artists work?  Can you see a difference between current pieces and older works? Yes? That is the evolution of the artist captured in physical form.  What you are witnessing is the artist making different decisions than they made in their earlier work.  It holds true that the more work an artist does the easier the artistic decisions will become.  Not that the work becomes easier to produce because likely the work gets more complex in time, but that the actual deciding becomes easier.  Less distraction from the uncertainty of what to do next.  

For the beginning artists all the decisions often lead to almost complete paralysis.  Standing in front of that first blank canvas with all the expectations and desires to make 'great' art are standing there with them.  Crossing those initial boundaries of what should I create, how should I create it, will it be any good, are challenging hurdles for sure.  

For the more practiced artist the blank canvas no longer creates the same paralysis, however, the doubt and expectation are still present.  What if they never quite go away?  How does an accomplished artist deal with these two aspects?  They get on with it.  They simply do their work.  They pay less attention to these distractions of the mind than they once did.  

After all, the barriers to creating art are all made up within the artists own mind.  The paint doesn't care about your expectation.  The canvas has no input into what you put on it.  Neither material cares if you create something great.  Only the artist cares. What is actually created comes down to what the artist imagines is possible.  Unfortunately what is possible is limited by what the artist thinks about their ability.  It's a chicken and the egg situation. Does great art come by accident, or does the artist believe they can make great art, therefore they can.   

Which brings me right back to the title of this blog post.  Making art is a selfish pursuit.  When an artist stands in front of the blank canvas they are really exploring the relationship they have with themselves, with their ability to make decisions.  They are confronted with the challenge of managing their mind, while their creative curiosity just wants to get going. 

On the flipside, if the artist doesn't really think they can do anything significant, then guess what they create?  Pretty mediocre art that they are not really that happy with.  

Let's peel this back a little bit further.  Painting is very simply, in my mind.  You mix some paint and you put it on the canvas.  Simple.  If you create a painting that you are not happy with, frustrated that it didn't work out, then you have a couple of problems.  You have either used the wrong colour or you've put it in the wrong place.  That's it.  

Now I'm really simplifying things here.  Clearly the great artists, Michelangelo, Leonardo, Titian, Sargent, etc. have some skills to create wonderful paintings.  They practiced and were able to make decisions with their paint choices, and how/where they placed that paint unlike most other artists.  But the theory remains.  With practice artists get better at making creative decisions and their work, it stand to reason, will also improve from those decisions.  

I think there is also a self-improvement that goes on because as artists make more decisions at the canvas, they also challenge the doubt and uncertainty within themselves. I have often said that painting is the greatest self-help that I've ever embarked on.  Simply because there is nothing standing in the way of my creative successes on and off the canvas other than my own ideas about my success.  If I can manage my mind in a successful way, then there really is nothing I can't achieve.  

I'm not suggesting that doubt and uncertainty go away with good mindset management or that they should even be squelched.  After all they are just as valid a feeling as anything an artist might experience.  What I am suggesting is that rather than have the feeling state of experiences dictate what, if anything, will be produce, that we learn to work with the seeming obstacles. 

If I can believe most artists that I've spoken to about their process, each and every one has moments of doubt and the thought 'oh no! I've messed this up.'  It's part of the process.  Some call it the messy middle.  This is where things get hard, the decisions don't come as easily, the judgments rush in, and you basically don't know where to go from here.  I would expect that even the great artists of old also had these same processes wreak havoc on their artistic production. 

Let's agree that being an artist and creating art is a selfish pursuit and one that bring the artist into a greater relationship with themselves each and every time they create something. 

Here comes the dichotomy. If art is a selfish pursuit then how does an artist connect to a collector to purchase that art?  How can this self pursuit have any meaning to the end collector?  Now in the case of the old masters they were often commissioned by the clergy or wealthy patrons to create their art so a transaction to purchase was established to secure the completion of the piece of art.  That is not the case in modern times.  Patronage is something rarely seen in the modern art work.  

Somehow, an artist has to describe/present their art, their self expression in such a way a collector can connect to it and wants to exchange money for that piece of art.  Is it as simply as "Ooh, it matches my couch"?  I don't think so.  It can be that a piece fits into the decor of a room, and you may conclude that is the sole reason for purchasing the art.  But I just don't buy it.  There are any number of things you could hang above the couch that would work.  What is it that actually has a collector purchase a particular piece?  

I have a theory.  One I haven't definitely proven in any scientific way, however, a theory it is. Let's go back to the ideas of art being a selfish pursuit.  If the artist is successful in capturing what their imagination is guiding them to create, and their art is a mirror of the mindset and intentions they held while they created it, then those same characteristics are steeped into that piece of art.  Could it not also be true that the viewer senses and reads the piece of art for the intention that it was created with?  

This theory also helps support the idea that there is a collector for every style of art that has been created.  Just take a look at social media, for example.  I paint flowers, and on any given day I can scroll through my feed and see 15, maybe 20 different styles of flower paintings.  Some are really great, in my mind.  Some not so much.  What I prefer in a flower painting, I guarantee, is not what everyone prefers.  

Any artist new to creating art and thinking of selling their art has thought "This isn't good enough.  Who's going to want to buy this?"  There is a buyer for all types and styles of art.  Please don't let that mind trick stop you from believing there is a market for your style of art.  Does this mean that every piece of art is saleable - heck no.  Bad art is bad art, and who decides on bad art?  The jury is still out on that one.  It may sound like I'm contradicting myself here.  Bear with me.  It's a tricky idea I'm trying to get across. Being skilled at creating art that is pleasing to look at, takes time, and effort.  There are some conventions that assist you in creating a great image.  Conventions such as composition, atmospheric perspective, convergent and divergent lines, perspective, proportion, shading, the relationship between lights and darks within the image and so on.  These take time to learn and even longer to practice.  If for instance you create an image with one object stuck smack in the middle of the canvas with very little attention to the surround area, it's likely not going to be very interesting.  

I think where artists get frustrated is that they have missed learning about the tools that will help them create interesting images.  Rather they keep trying to create something of interest using the same skills and ideas that they have always used and wonder why their work isn't improving.  Wasn't it Einstein who said the definition of crazy making is doing the same thing over and over expecting different results.  

In conclusion, yes, I do get long winded sometimes, I will wrap this up.  Art making is selfish, for sure.  When an artist is able to be with their process and their mindset while creating, they can create a piece of art that is steeped in that intention.  Collectors feel it, and connect to the authenticity of the piece and may even want to purchase it.  The key to this transaction is: Does the artist believe they can produce an interesting image?  Do they believe someone will like it enough to buy it?  Are they willing to do the work and practice making their art so they can move from uninteresting images to ones that hold the viewer's attention?  Keep in mind painting is an illusion.  It's creating something tangible on a two dimensional plane in such a way that it evokes a reaction in the viewer.  In my case, I paint realistic flowers on a two dimensional surface.  If the flower is flat, it might look like a flower but it's not going to be very interesting.  If I can create that same flower in such a way that the viewer can smell the dew laden air and see the water drops scattered across the flower in the morning light.... now that's getting more interesting.  

I hope you have enjoyed this little trip into my analytic brain.  If you'd like to see the original paintings that I have available to purchase, I'll be publishing them in my magazine Direct From The Studio on the 28th of October.  To grab your e-copy simply leave me your email address below. Feel free to leave me a comment in the comment box also.  

It happens easily.  You have an exquisite power that often gets overlooked. You feel discouraged.  I want to remind you that attention from others is not the point.  That's not the measurement we are looking for.

Standing up, showing yourself, staying true is the foundation of your confidence and power, which is not swayed by external measurements, is the point.  Your power comes from within. Unshakable.  Yet when we are looking outside ourselves for validation, we turn off the valve of self-support which is our source of well-being.  

The image on the right is my painting of the "Angelique" double late blooming tulip.  The colour in my painting is not typical because it has been faded by the heat and the warmth of the sun in Penticton, B.C.  

This particular bloom caught my eye because it felt like the sun was radiating off the petals like a reflection of light, giving back the energy of the sun.  The reflections are metallic and delicious.  This flower stopped me in my tracks as I was driving by. 

Standing out in a neglected and untended yard, all on its own--there it was standing in all its glory. 

Standing out in all your glory is not contingent on everything else being polished.

As you well know, you can only control what is yours to manage.  You cannot demand that everything else be manicured before you are willing to stand in your glory. 

Wow!  There's a hit of wisdom. 

When I really looked at this bloom I recognized the outer edges and what a beautiful shape they have and got curious about their wisdom.  

The tip that you see, at the front edge, the point that folds over at the ends is the gentle folding back and in at the same time.  

​It's just like when you lift your chest and pull your shoulders back, a vulnerable and open stance that exudes confidence.  Standing your ground.  Declaring your presence. Unapologetically owning the space.  

That's what this bloom is sharing with us. 

It was a large and spectacular specimen.  I noticed it for a reason.  It really is a mirror.  It encourages us to hold this space-- the space of greatness that wants to radiate out into the world. 

I bet there are places where you were not recognized. So you left, you changed the environment. 

Where is the place that can see you?  Where can you really shine? 

Place informs how we show up.  When we leave a place that doesn't fit, there can be regret about making a move.  Let that go.  You knew the place was not supportive and you left.  It was a good decision.  Now how can you deepen your connection to the place where you are?  How can you stand out and shine, even if the surrounding area is untended?

It's a great question to ponder. 

Did you notice that this bloom is delicate and powerful?

A reminder that power doesn't have to be aggressive or loud.  It can be quiet and calm.  It can stand strong, quietly, attracting the energy of others who can appreciate its presence. 

You are being called to see yourself more clearly.  To trust even though you are not sure why.  Trust in humans has not been easy. You are reluctant. I get it.  And.... trust is important.  There is guidance here for you.... trust your intuition.

Staying the same is not the goal. 

You are reluctant to grow because you are scared.  This bloom, in partnership with you, is showing you that you can grow in place.  You can become even more skilled in your perceptions.  You can flourish. 

Along this path of yours, this flower is a messenger, an encouragement that you are going in the right direction. 

What's most important is that you are brilliant and whole and beautiful and so damn capable.  I know you wobble and waver -- that's normal. 

However, I want you to feel the support, the love, and the messengers along your path to set you back on course, if you get unsure.

You are doing great!

Don't worry about a thing. 

We got you. 

We see you.

You are working hard, and it's paying off in ways you can't quite measure. Bloom in place.  Raise your chest, pull your shoulders back, radiant your brilliance, like the sun.

We all want this kind of reminder.  A nudge that we are supported.  

This image will do that for you.  It will inform how you meet your day.  It will partner with you and encourage you to trust yourself, hold your ground, be vulnerable and radiate your brilliance. 

Buy a copy of this painting now and start feeling the support that you have been yearning for. 

It comes in a paper print, large market tote bag, or a beverage tumbler.
​

E.J. Hughes a Victoria born artist created iconic British Columbia seascapes and landscapes with a unique perspective, a narrow depth of field and stylized shapes. His style was unique and focused entirely on British Columbia.  

Hughes attended the VSDAA (The Vancouver School of Design and Applied Arts - later to morph into The Emily Carr University of Art and Design.)

He ran into Fred Varley, as he was instructing then, but it's unlikely that Hughes was his student as his style of art and his unsavoury lifestyle didn't appeal. 

During the second world war Hughes was employed as a war artists, capturing scenes of the troops.  He was away from his then bride Fern Smith.  The two kept in touch through letters. 

In 1937 and 1938 Hughes spent his summers working in BC's Commercial Gill netting industry.  In 1946 he started painting the scene from his Gill netting days.  Nov 26, 2004 "Fishboats, Rivers Inlet" (pictured below) would become the first "million-dollar painting" of his. 2018 say this same painting sell for two million dollars.  

In 1951 Hughes and his wife decide to leave his families home in Victoria, just down the street from where Carr had lived, to move to Shawnigan Lake.  

After Harris' recommendation Stern was anxious to meet Hughes. Stern flew from Montreal arriving in Victoria with the hopes of meeting Hughes only to be told that he had moved to Shawnigan Lake.

​Back in those days there were no phones in Shawnigan Lake so there was not way to reach Hughes to set up an appointment.  Stern grabbed a reporter from the Victoria paper and headed up to Shawnigan Lake unannounced.  With no idea where Hughes lived they went to the post office to inquire and were directed to Hughes house. 

With a knock on the door and a quick introduction Stern asked if Hughes had anything to show him.  Hughes proceeded to take him upstairs to the studio.  $500 later, the studio was cleaned out, Stern was heading back to Montreal, with the instruction that he would purchase everything that Hughes could produce.  Thus began the exclusive representation of Hughes work by Max Stern.

Over the years of representing Hughes, Stern urged him to head to the major European Museums, or New York, even to travel to Montreal, but Hughes was a simple man.  He didn't have the funds or the desire to travel far afield. He was adamant that if he took time to travel his paintings would fall behind causing a hardship to the creation of his art that he wasn't willing to do.  Instead he opted for taking trips around British Columbia by bus, initially, and later in his own car.  He would stop at a town of interest and spend a few days creating a painting on the spot. Back in the studio he would pull these field studies out and work them into larger pieces. ​

"In 1947, Hughes was awarded an Emily Carr scholarship and one year later was elected member of the Canadian Group of Painters.  His reputation grew in the 1950s, especially after being represented by Max Stern, owner of the Dominion Gallery in Montreal.  He was commissioned by the Standard Oil Company to travel on a tanker to paint a series on the British Columbia coast.  He also traveled and sketched on the coast and the interior of B.C. on Canada Council grants (Kaslo on Kootenay Lake, 1969).  Hughes was elected to the Royal Canadian Academy in 1968 and received the Canada Council Award one year later.  In 2001 he received the Order of Canada and was awarded the Order of British Columbia in 2005." - National Gallery of Canada.

I hope you have enjoyed this foray into one of our national treasures.  It's wonderful to explore our West Coast art history and see the links between the key art players of the time.  As a B.C. based artist I like to think that I'm carrying that legacy forward. 

P.S. I'm releasing new work to my V.I.P.'s. Join my list below to be included in updates from the studio, promotions, and articles of interest. 👨🏼‍🎨🎨🖼