Information about my brushes, tools, and setup!
For free brushes, check out Loish’s Digital Art School! It includes my brush set with the brushes I use most often in all of my art. As for other brushes I use, my favorite sketching brush is the MaCaLabs HB Pencil brush, which you can download for both Photoshop and Procreate. My favorite Procreate brushes are MaxPacks Gouache and RazumInc pro II.
I use Adobe Photoshop for practically everything! It’s the software I learned to make digital art with back in 2003, so it feels most natural for me. I also like to use Procreate when I am drawing on my iPad.
Most of my work is created on my self-assembled desktop PC. It consists of:
Alternatively, I sometimes use:
I’ve been using some combination of a Cintiq and a Windows PC since 2012, so this is the setup that I feel most comfortable with. There’s so many options out there these days, so if you’re looking for new hardware, take the time to research which options best fit your budget and needs!
For those transitioning from traditional to digital art, I definitely recommend the iPad Pro with the Apple pencil and Procreate – it is very responsive, intuitive, and easy to learn. I have a few tutorials about my Procreate workflow available for free at Loish’s Digital Art School.
For free tutorials and resources, head on over to Loish’s Digital Art School – it includes video tutorials as well as step-by-steps and palettes. There’s also worksheets and challenges to inspire you if you’re feeling stuck, and of course some helpful brushes for Photoshop and Procreate. Just visit Loish’s Digital Art School to get them!
I’ve created a huge amount of tutorials over time! There are over 50 on my Patreon, and the collection is growing with a new tutorial every month. Visit this page for an overview of all of the tutorials I have made there! I also have a tutorial shop where you can buy patreon tutorials as a one-off purchase. If you’re interested in becoming a patron, here is an overview of what you can expect. There are also a few older (but very thorough) tutorials available on my cubebrush page!
Sketching digitally is a very important part of my process because it allows me get more comfortable with the software and the tools I use! I always recommend sketching exercises to those who are starting out with digital art, because it is the best way to familiarize yourself with the tools. When sketching, I try to put more emphasis on flow and expression than on anatomical precision – it’s important that the sketches have energy and movement. If you want to learn more about my digital sketching process, check out Loish’s Digital Art School – there you can find a free video tutorial demonstrating my digital sketching process from beginning to end!
Me and linework have a conflicted relationship! I used to spend a lot of time making detailed and clean lineart, but I found it tedious and boring. At some point I started skipping that stage and going from the rough sketch straight into the painting phase – and that worked out really well! This is the workflow I continue to use today. If you want to learn more about how I go from sketch to color, check out Loish’s Digital Art School – it has free tutorials that explain this aspect of my workflow in more detail.
This is the aspect of my process that I get the most questions about! Choosing colors, for me, is largely an intuitive process. I use color editing tools to adjust and modify the colors until I like what I see. I use my intuition to judge whether I like the colors or not – which is easy to explore if you’re using digital tools, because you can endlessly modify them! If you want to learn more about how I choose colors, check out Loish’s Digital Art School – one of the free video tutorials is specifically about how I choose color.
When making digital paintings, I like to start out with a messy, rough version of the drawing. In this rough version, the overall composition and colors are there, but I just need to ‘clean it up’ to bring it to a finished level. For this, I use a technique that I call “sculpting with color.” Basically, that involves alternating the eyedropper shortcut and brush tool to smooth out and clean up the painting! It feels very intuitive and easy because I’m only using a few very simple tools to do it. If you want to know more about this workflow, I have a tutorial about this subject over on my Patreon!
I use layers in kind of an odd way. I try to work on a minimal number of layers, because I easily get lost in them. Searching for the right one to draw on can really interrupt my workflow. Because of this, I usually start with 2-3 layers for lines, color, and shadows – and as soon as I’ve landed on a rough version that I can finalize, I merge everything together. When I create a detailed painting, I’m usually just working on one layer after I’ve merged everything together at an early stage. For more information about how and when I do this, check out Loish’s Digital Art School, which has a few step-by-step PDFs that elaborate more on this aspect of my workflow.
On the other hand, my artwork usually has a huge amount of layers in the file. This is because I use layers as a timeline. Whenever I make significant changes to my drawing, I’ll start on a new layer, which I can click on and off to see if the drawing is improving. I feel it’s really important to take a step back in your process if you need to, and using layers as a timeline is a big part of being able to do that! So what it comes down to is this: I am usually working on a minimal number of layers, but my file contains a large number of layers. Hopefully that makes sense!
How I learned to draw, and how I got to where I am now.
The short answer is that I am a self-taught artist! I’ve been drawing my entire life and got a lot of encouragement from my immediate environment, which pushed me to continue learning. I took a few art classes in elementary school which taught me a lot about drawing from reference, but after that my art education was limited to lots of practice in my free time. I started drawing digitally with a mouse when I was 15 and got my first tablet when I was 16. After that, I spent a ton of time drawing digitally, teaching myself almost everything I know about digital software and using a tablet. I was obsessed! When I was 18, I decided to study animation and was an animation student for 5 years – one year at KASK in Gent, and 4 years at the HKU in Utrecht. I learned a lot of valuable things at these schools, but building the foundation of my digital art style was something I did on my own.
When I was 15 and first developing my style, my main influences were japanese drawing styles (animé and manga), various french comic artists (particularly the work of Aurore BlackCat) and Art Nouveau (particularly Alphonse Mucha). I was also inspired by the Disney films I grew up watching, especially The Little Mermaid. I made a ton of Ariel fan art in my early digital art days! I then joined DeviantArt and found a lot of inspiration from artwork I found there. I continue to be inspired by a wide range of artists whose work I follow online. Here is an influence map that gives a general idea of the different artists and people who influenced my style.
My style is the result of mixing all those influences that inspired my work in my early drawing days. It was something that happened organically and that others noticed before I did. I also think that the process was catalyzed by being self-taught and finding my own solutions for the creative problems I ran into.
For artists searching for their own style, I think it’s important to draw inspiration from the styles that inspire you most, and get that from a variety of sources rather than just one or two. I think working intuitively is also very important: try to draw what feels good to you, instead of getting too technical or over-thinking the drawing process. This makes it easier to develop your own unique approach to drawing! If you want to learn more about how I developed my style, my third artbook, The Style of Loish, does a deep dive into the topic and also has lots of tips and exercise suggestions for artists who are searching for their style!
My old art was all over the place! If you are curious to see my old art and websites, I uploaded them for your viewing pleasure, including traditional art, digital art, oekakis, and old website layouts. Most of these drawings are from 2003 to 2005, when I was just starting out with my current style! I also did a livestream talk with my friend Iris Compiet about our old art and creative journeys over time, which you can watch here. Prepare yourself for the cringe!
I studied animation for one year at KASK in Gent, and for four years at the HKU in Utrecht, obtaining a European Media Master of Arts and a Bachelor in Design. You can watch my graduation project here! I chose animation because animators learn a wide range of skills, like storyboarding, backgrounds, character design and more. I figured I would have a broad skillset that would come in handy in my later career. For tips and advice on art education, check out the section about education under tips & advice in this FAQ!
When I first became a freelancer, I had already been posting my work online and building a following for about 6 years. This meant that there was already some interest in my work by the time I graduated animation school. However, the jobs I did were all over the place and not always the best fit for me! It was often low-paid. Sometimes I had enough work, and sometimes I had nothing for months. I filled those gaps by doing commissions on DeviantArt and making personal work so that I could continue to grow my online presence. It took about 5 years before I had a steady stream of interesting work that paid well! Getting there involved gradually building work experience, gaining confidence in my professional abilities, and continuing to make personal art to show what I was capable of. For tips and advice on art education, check out my work and career tips in this FAQ!
I’ve been working as a freelance artist in the Netherlands ever since I graduated animation school in August 2009. I started out with odd jobs in animation, moved on to concept art for web-based games, and then became a character designer for animation, toys, and AAA games. Check out my client work page for an overview of some of the work I’ve done in the past! I currently generate my income from Patreon, as well as from my artbooks, prints, and limited release products.
I’ve done a lot of interviews for podcasts and youtube series! Here’s a few of them:
My tips and advice on drawing and more!
A lot of people ask me where to start with digital art! It can be very overwhelming in the beginning, so this is an understandable question. The first and most important thing is getting somewhat comfortable with digital tools. In order to do this, I recommend just doodling and sketching for a while. Try not to use too many tools or filters – just get used to the flow of sketching, and then you can slowly learn about the rest. I definitely recommend checking out Loish’s Digital Art School, which has free video tutorials that you can follow along with, as well as brushes and step-by-steps! In general, be patient – it can take a while to familiarize yourself with the tools. It took me a very long time and lots of trial and error to get there!
If you’re asking yourself whether it’s too late to learn digital art, you are not alone! Lots of people have asked themselves this. I personally don’t believe there is any point where it is ‘too late’ to learn something new, and I think it’s always rewarding to pursue something that sparks your creativity and allows you to express yourself – no matter what age. It’s also never too late to pursue a career as an artist. Having said that, each area of the creative industry is different. Some art jobs depend on an influx of young interns and it’s hard to get your foot in those kinds of places, but those are not the only opportunities that exist for artists! Everyone’s story is different, and everyone has different situations they’re dealing with or challenges that they face – so there’s not one set of rules that determine whether you will be successful as an artist. The main advice I can give is to develop your knowledge at your own pace and find what works best for you, rather than feeling the pressure to learn every single trick in the book. If you want to know more about my thoughts on this topic, check out this conversation between me and my friend Iris Compiet, who found her career path in her late 30’s.
There’s no one rule for how much time you should spend on a drawing! Over time, I’ve found a routine that works for me. I usually spend about 3-5 hours on one single drawing session – if I spend longer than that, I feel like my concentration runs out. I spend on average between 10 to 20 hours to make a detailed digital piece, divided into shorter sessions. On quicker speed sketches, I spend between 1 to 3 hours. Every artist draws at their own pace, so if you’re looking for the “right amount of time” to spend on a drawing, don’t worry too much about that! It’s different for everyone, and it can take a while to find out a formula that works for you.
This will be different for every artist and depends entirely on what your schedule allows! I draw quite regularly – about 2-4 times a week, although on some weeks I draw more than others. Since drawing is my work, I try not to draw on weekends or holidays – but sometimes I just feel inspired and I might doodle a bit in my downtime. However, I think it is incredibly important to take breaks and limit drawing hours to avoid strain injuries and burning out creatively! I’m only able to draw regularly if I don’t push myself past my limits, which is all about striking a balance and making sure I have a healthy relationship with my work. If you’re trying to figure out how often you should draw, try to find what works best for you and don’t compare yourself too much to other people.
Are you asking yourself whether you should draw every day? I personally I would not recommend it. It’s a lot of pressure and you run the risk of burning yourself out, or worse yet, straining your wrist and injuring yourself. I think that a healthy learning process involves more than just drawing. It also involves finding inspiration, getting rest, connecting with the art community, and giving yourself time to come up with ideas. There have been periods where I drew daily for a short while, but I don’t think it’s sustainable for longer periods of time. My recommendation is to draw regularly, but not daily – you need those breaks to recover and grow. For more information on what I consider to be a healthy routine for artists, check out my Patreon tutorial about creating an artistic routine!
Using reference is essential for any artist! I gather reference material for the majority of my artwork. Some of my drawings are studies in which I closely reference specific images to learn new techniques. Other drawings, like my digital paintings, are less dependent on specific reference images and result from a mix of different visual influences. This is because leaning on one reference image too heavily usually leads to a less stylized result, which is the opposite of what I want to achieve for my paintings. I try to depend more on my imagination for those, although I do use reference to elevate the details in the final stages.
If I’m struggling with the anatomy, I look for pose reference or take pictures of myself. For pose reference, my favorite source is Adorkastock. My favorite tool for creating a reference board is PureRef. To learn more about how I approach reference, check out my challenge resources on Patreon – I always take a moment to discuss my reference boards and how I diversify the images I include in them!
Learning how to draw anatomy accurately is a long process and is something you’ll get more comfortable with the longer you practice it. I learned how to draw anatomy by practicing both from memory and studying reference images. I often switched between the two so that my style would be a mix of realistic and cartoony.
Unfortunately I can’t recommend any books for learning anatomy, since I never used these kinds of resources myself, but I definitely recommend doing gesture sketches from reference as a way to improve your anatomy skills! Speed sketches are a great way to learn: try to capture the overall shape and movement before going into detail, since this helps you to understand the overall shapes and proportions. My free resource pack, Loish’s Digital Art School, includes a gesture sketching challenge that comes with reference images and tips – this is a great place to start if you want to practice gestures!
I believe there is a lot of inspiration to be found in our everyday lives! I get my inspiration from a mix of art I see online, the world around me, and interesting reference images that I find on Pinterest, Unsplash, or pose reference images like Adorkastock. One of my biggest sources of inspiration is nature, either in real life or through photographs. I often use pictures I take myself as a starting point for an illustration or study. For my digital paintings, I often get a ‘spark’ of inspiration from something I saw in my daily life which gives me an idea for a painting. I made a tutorial on this subject over on my Patreon for those who want to know more about how I take small, daily-life moments of inspiration and turn these into paintings!
For digital art, it’s important to start at a large resolution and downsize later for viewing on the web. This is essential to being able to make high-quality prints of digital work, and also ensures that the brush strokes don’t look pixellated. I often start with a canvas that is at least A3 format (300DPI) or larger, which is around 3500 x 5000 pixels. My suggestion to digital artists is to work at the maximum possible size that your device can handle, without it lagging or slowing down the computer!
The short answer to this is no – it is not necessary for building a career as an artist, or for learning how to draw. I’m mostly self-taught and nowadays there is an almost infinite amount of resources available online that will help you learn! I generate the majority of my income from the type of art I was making outside of school, and I believe I could have achieved this without going to animation school. However, art school can be enormously beneficial. I learned a lot about working together with other people, explaining my creative choices, and getting construcive criticism. Most importantly, I met a lot of people who became my network once I was a freelancer. As with many things, whether art school will help you depends entirely on your situation and learning style. Just know that it is not a requirement for building a career as an artist!
I unfortunately have very little advice on this! I graduated animation school in 2009 which feels like centuries ago. A lot has changed since then – both in terms of the quality of the education and in terms of the cost. The industry has changed a lot too. I definitely recommend reaching out to recently graduated alumni of schools you’re interested in to learn more about whether it might be a good fit for you!
There are a huge number of platforms available to post your work on as an artist, and many of them are saturated with artists! Combined with restrictive algorithms, it can definitely be tough out there. If you’re just getting started with posting your art, I recommend choosing 2-3 platforms that you will regularly post on. Try to figure out which one feels most intuitive and enjoyable to you and make that one your area of focus. You can get the most out of a platform when you understand how it works and what kind of content works best there, so consuming content on that platform is a great way to learn more about that. If you are finding it difficult to get your work seen on bigger platforms, try joining smaller communities, like forums or discord servers. In general, I recommend posting on a few different platforms to cover your bases, but don’t spread yourself too thin!
Getting people to follow your work on social media is a complex process. There’s no guarantee that a certain approach or type of post will definitely get you followers, so it’s mostly a question of posting as often as possible and finding out for yourself what works and what doesn’t! If you’re just starting out, it can be discouraging, because it’s hard to get noticed. Despite this, it’s good to just keep posting and trying to observe long-term results rather than expecting instant success. I recommend posting as regularly and as often as possible, and staying flexible as much as you can – the social media landscape is always changing so you may have to pivot or change strategies as you go. Try to post different types of content, like process videos, mutliple images, behind-the-scenes videos, sketches, and finished work. Most importantly, try to be an active member of a community – get to know other users, respond to comments, and follow other accounts. You’ll gain followers from these interactions and you can also learn a lot from how other people handle their social media accounts! If you want to learn more about how I gained my following, check out the section about my online presence here in this FAQ.
I often get asked whether it is possible to make a living off of art, usually from people who are on the fence about pursuing it. It is definitely possible! Me and many others have done it and continue to do it. However, it’s not a guarantee, and can be complicated depending on what you do, where you live, and what your options are. For me, having an online following and living in The Netherlands, which is relatively easygoing for freelancers, has made things a lot easier. One thing I can recommend is to diversify your income and be ready to switch gears when the industry changes – which it often does. Choosing art as a career is a highly personal decision – definitely do your research before getting started!
Commissions are paid requests to draw something or someone, usually for personal use. It’s usually the starting point for many artists’s careers and it’s definitely how I started out as a teenage artist! I began with low-priced commissions and gradually raised the price as the demand for my artwork grew. But looking at it through the lens of a professional artist, I think many artists charge too little for their work. Due to the wide availability of cheap commissions, many people have come to expect and even demand these very low prices. If you decide to offer commissions, don’t let anyone convince you that your price is too high – this happens a lot and you’re better off ignoring them and moving on! The best way to approach your pricing is to estimate how many hours would go into each piece, and to figure out how much money you feel an hour of your time is worth, and then do the math. For the rest, I would advise you to:
This is an extremely tough question because the industry is always changing. In the past, I’ve depended a lot on my online following to find work, but algorithms are becoming increasingly restrictive and this is not always a reasonable strategy anymore. Sometimes there’s a lot of work to be found, and sometimes work dries up. There’s a lot of fluctuation and it’s not always your fault if you can’t find work.
I definitely recommend getting your work out there as much as you can – both online and in real life. Attending art events like LightBox Expo, Playgrounds or local comic cons can be a great way to make face-to-face connections. If you can, get your portfolio reviewed by professionals in the field so that you know how to optimize your portfolio for a specific type of job. When showing your art to others, show them a mix of finished and rough work: this way, others can get a sense of how you draw but also how you think and develop your ideas. Finally, joining a discord community with other artists can be a great way to find connections amongst your peers. Basically, do anything that can help you create genuine connections with people in the industry!
There’s no one rule that determines how you should price your work! It’s totally up to you what you want to charge, so it’s important to look at your own specific situation first. The most important thing is that you need to be able to make a living off of your work, which is more complicated than it sounds! Don’t just factor in your bills, but also the cost of the materials you make art with, and the cost of your art education – costs that make it possible for you to create. You should also factor in your expertise as an artist. Charging purely what you need to survive means that you will not be able to grow and evolve your business. Sometimes this is a short term solution to pay bills, but it shouldn’t be a long term approach for your career. Also, consider that you’re not always being paid for your time: You will also be doing unpaid work in the form of updating social media, answering e-mails, managing finances, etc. Make sure your fee also covers the unpaid hours in which you manage your business!
When negotiating your fee, keep in mind that you can always bargain downwards, but clients are very unlikely to accept a higher fee after you’ve suggested a lower one. Also, don’t let yourself be fooled by clients who suggest your work is worth less than what you ask. Many of them are just using manipulation tactics to get you to lower your price, so don’t take it personally. Also, never work for ‘exposure’! I get the most exposure from my own personal illustrations and sketches, so if you’re considering doing free or low-paid work because you want to expand your portfolio, consider a personal project rather than unpaid work. The results will be way better!
If you’re feeling overwhelmed, you’re not alone – it’s a lot to consider! It took me a long time to find my confidence in this area, so be patient with yourself and take it step by step. Good luck!
Have you had your art stolen? Welcome to the club! I’ve had my work ‘stolen’ (that is to say: my copyright breached) numerous times. I had my work printed on clothing, phone cases, book covers, and more – all without my permission. The standard course of action is to file a DMCA takedown form. If that doesn’t work, a cease-and-desist letter from a lawyer usually does the trick. This is what I recommend doing if your copyright has been breached. There’s unfortunately no way to fully prevent your art being used without your permission, except for one thing: Never showing your art to anyone. That means your work will never gain any kind of positive exposure, so I don’t recommend that! There’s also positive benefits to showing your work, so try to weigh the negatives against the positives when things like this happen.
More recently, my work has been uploaded to databases to be used for generative AI under the guise of “fair use.” Although some see this as a legal gray area, I think it’s a blatant breach of my copyright. To learn more about my opinions on generative AI, check out this post.
A drawing-related injury could be carpal tunnel, wrist pain, tennis elbow, or any other type of injury that results from drawing too much, or in an unhealthy way. These are shockingly common amongst artists! Unfortunately I’ve experienced some strain from drawing in the past, but managed to overcome it by making changes to my workflow, mindset, and routine. The most important thing is to slow down, take breaks, and give yourself time to rest and recover. This is easier said than done – artists often panic that they won’t be able to keep up with their work or learning process. However, you must get rest, because a drawing-related injury is a sign that you are overworking yourself! Take a moment to realize that whatever urgent task you are doing is completely irrelevant compared to the long-term use of your arm. It’s important to prioritize your health – and if you do that, you will most likely recover and be able to draw without pain!
Here are some things that I found helpful in dealing with my injury:
Most importantly: speak to a doctor or physical therapist if you’re feeling pain, rather than power through it. An expert can identify the problem and give specific solutions that will help you! Remember that all bodies are different and what works for me might not work for you, so don’t hesitate to consult a professional for help if you’re struggling with a drawing-related injury.
Artblock is really common and could be caused by any range of things, like feeling burned out, running out of ideas, or negative self-talk. If you’re feeling blocked, it’s important to try and figure out the cause, because the solutions are different for each one!
My main advice is to be kind and patient towards yourself if you are blocked! Many artists have a natural urge to be more strict towards themselves because they think this will boost their growth. This usually doesn’t work, and can even make the problem worse. You will experience way more artistic growth if you’re enjoying what you do, so make that a priority!
Information about my traditional art, animation, and web designs!
It’s a long story! I’ve been actively posting my artwork online ever since I started drawing digitally in 2003, so that’s where it started for me. I started out on these websites called Oekaki boards, where I posted artwork alongside other board users. I also posted all my work to Deviantart and maintained a personal website during that time. In 2009-2010, social media platforms became huge. During this time, I branched out to tumblr, instagram, facebook, and twitter. In general, I try to stay flexible and evolve with the changing social media landscape. I think posting cosistently for such a long time allowed my following to snowball over time, and I also think that I started out when was way easier to build a following – social media algorithms didn’t exist yet and the platforms were way less saturated. In many ways, I was in the right place at the right time. My current focus is on building my newsletter, since I find that social media is getting more and more restrictive.
Social networks that I am currently active on are:
I sell prints and merchandise of my artwork exclusively on:
I’ve had this website since 2004! In the beginning, I coded it myself using notepad because my little sister was generous enough to teach me basic HTML. If you want to see some of the previous website designs (warning: they are sometimes a bit whacky), check out this google album. The current version of this website was expertly created by my partner, Arjen Klaverstijn, using WordPress! WordPress is my tool of choice for my own website designs, like Loish’s Digital Art School and my links page.
I participated in inktober twice and made a lot of inked artwork after that as well. To create my inked art, I use a mix of different tools. The most important are a colored pencil for the base sketch, fineliners to ink, and moleskine paper which doesn’t bleed through. You can find an overview of all of the tools I use for Inktober on my Amazon affiliate page. I also have a detailed tutorial about inking on my Patreon, which you can also purchase from my tutorial shop!
When creating pencil sketches, my only requirement is that the pencil I use is a mechanical pencil. Any mechanical pencil will suffice! I’ve used pencils that I picked up for free at hotels, as well as BIC pencils with 2B lead. I also like to use a blending stump to smudge the drawings and create shading effects. I have a detailed tutorial about my sketching process on my Patreon, which you can also purchase from my tutorial shop!
Most of my traditional art is made in my sketchbook, which is an A4 sized moleskine sketchbook. This is my favorite type of sketchbook because the paper is nice and thick! There are a lot of alternatives out there with similar quality, so definitely do your research to find an ideal sketchbook for you!
Although I do mostly digital painting and concept art, I studied animation and have worked on various animation projects in the past! You can find an overview of some of the animation work I did in the animation section of my portfolio.
My tool of choice for animation was TVPaint, a program which offers good digital drawing tools and a timeline. I usually made the backgrounds for my animations in Photoshop and composite my animations in Adobe After Effects. I edited my animations with Adobe Premiere Pro. Although I don’t animate anymore, I would definitely recommend Procreate Dreams since it’s an affordable one-off purchase and has powerful animation tools!
Want to reach out to me or use my art? Check this first.
If you’re interested in licensing my artwork for commercial use, please contact mewith more information about why and how you want to license it and I will do my best to get back to you! You can e-mail me at business@loish.net or use my contact form.
Using my artwork as a reference for your own is fine! This applies to referencing specific parts of my art as well as ‘style borrowing’ or trying out elements of my digital painting approach. All I ask is for you to link to the image you used as a reference and provide proper credit by linking back to my social media accounts or website!
No need to ask my permission to have my art tattooed on you. Go right ahead! All I ask in return is for you to send me a photo of your tattoo when you have had it done, and if you like, you can tip me!
I am no longer accepting personal commissions for the time being! My schedule is often filled with client work and personal projects, leaving little to no time for commissions. Because I am never sure when my schedule will clear up, I do not keep a waiting list of any kind. Sorry about that!
Right now, you can buy my work through INPRNT, and I also release unique time-limited products through Loish.Shop. That means that there is a limited time window in which to buy the product, so if you want to stay updated, sign up to my newsletter! I do not handle these products personally – if you are interested in a signed print, please contact me at info@loish.net, although please be aware that shipping from The Netherlands can be pricey!
Unfortunately, I am not able to do interviews for school projects. I get too many requests for these and I just don’t have the time to do them all! In these situations, I hope my FAQ is a sufficient source of information. As for media interviews, feel free to reach out to me personally at business@loish.net or through my contact form!
Unfortunately I’m not able to mentor artists or give personalized portfolio feedback at the moment! I also don’t accept any internship positions. I do offer tips, advice, and tutorials through my Patreon – and Patrons can always ask for some quick feedback.
If you have any questions about me or my artwork which are not answered in this FAQ, please do not hesitate to ask. You can do so by filling in the contact form or by sending an e-mail to info@loish.net. Please be sure to read through this page or use the search bar at the top before typing your question! Thank you so much for reading ❤
