I was approached by a client, who saw my work on Reddit, about making a drawing of their home. They sent me 4-5 pictures from various angles. I picked two that I like and shared rough sketches of both with them. Once they picked the option they liked best, I do the drawing on paper with ink, in one go.

When I work for myself, I take great pride in making all the creative decisions myself. But when I’m doing a commission, I’m conscious of a greater responsibility.

Since the first time I was commissioned to make art - in Eau Claire WI - I have been aware of a great responsibility. It is a huge honor to make something that will hang in someone’s home. The piece will occupy that spot for many years. They will walk past it everyday. They will grow older in front of it, live their lives around it. Over time, it will become one with the wall. It will be one of those things they don’t notice anymore. Their eyes will sweep over it as with other objects around home. It will become a part of their home.

Until someone visits them, sees it for the first time, and asks about it. Then they will see it again, with a fresh regard that sparks fond memories.

Making art for someone is an invitation into their life. To occupy a place of pride in their world. It is an opportunity to give them a reason to smile for many, many years.

This opportunity, this honor, this responsibility, can be quite empowering. But with the self-confidence also comes cause for anxiety. Will it look like what they wanted? Is it everything they imagined? Should I do something more? Or should I not even think of the client? After all, don’t they want me to be … me?

In last week’s podcast episode, I asked this of Felix Scheinberger, an artist and illustrator in Berlin. We spoke about the many books he has illustrated for clients, and the books he has made under his own name. Is there a difference in the work he does for others and what he does for himself? Always, he answered. It is good to collaborate with others, but always better to work for yourself.

The tension never goes away. You must ignore all outside voices to the extent that your natural style is able to shine through. But you must also tailor the work, and curb your instincts, to the needs of the paying client. You need to strike upon a healthy equilibrium.

“I tell my customers that with me, what you see is what you get.” - Felix Scheinberger.

I drew this piece with my Lamy Safari fountain pen, on an 8x10” Canson art-board. Here’s how it looked!

One more thing that I do for commissions but never for my own sketches is a pencil underlining. This has less to do with it being art for someone else though, and more to do with the fact that I use excellent quality expensive paper for these commissions.

I don’t want to ruin the page with something silly, like a mis-aligned drawing, or with my subject just that little bit off-center. Drawing from reference images also is harder for me than drawing on location. I can’t flex with the still image the way I can with reality. (This is something I discussed in the latest podcast episode as well - Ep 25 with Felix Scheinberger)

I loved the detailing I was able to do here. Notice the diagonal hatching to create the darker dark spots. I did that as a final layer after everything else, to give emphasis where it felt necessary.

I also made a video of the drawing process of this piece. Enjoy!

In the first few seconds of the video, you will see where I have found my balance. I never do pencils in my own work, only for client work. Two reasons -

I don’t want to risk a ‘mistake’. I want to feel like I did it with greater responsibility.
I really don’t want to have to do it again. A re-drawing is always poorer than the first.

A Home in Washington, DC