Digital platforms continue to transform the art market, changing both aesthetic standards and the commercialization process. With the proliferation of social networks, access to art has become much more democratic and tools for selling art have significantly expanded. However, it’s important to use social media opportunities carefully to avoid losing one’s uniqueness in favor of trends and business interests, says artist and teacher Daria Callie. In 2016, when few of her colleagues were sharing their creative process online, the artist launched a YouTube channel, which earned her a large international audience and a full-fledged career.
Today, Daria Callie teaches a portrait painting course on the online learning platform Studio.com, while also curating content for her followers on Instagram and Patreon. We talked to the artist about how to design an online course without encouraging imitators, whether business and creativity can be balanced, and why traditional portrait painting is not at risk of falling into oblivion.
You could be called an online phenomenon – your YouTube channel alone has nearly 900,000 followers. Why do you think your fans value your work?
It’s hard to say. I paint with oils, mostly in realistic and figurative styles. In my work, I blend portrait realism with elements of abstraction – this is probably the main distinguishing feature of my style. It is important for me to convey not only the external appearance but also the inner world of the characters in my paintings. I pay a lot of attention to detail, especially in portraits, but I also like to work with loose brushstrokes, which brings spontaneity to the process. People often tell me they find my paintings visually interesting and appreciate the level of realism in my work. While I don’t aim for photorealism – my portraits are rather inspired by the traditional paintings of 19th and early 20th-century masters, whose works I studied while learning to paint.
Today you’re the one teaching, and, as far as I know, quite successfully: for example, your course on the educational platform Studio.com has earned you over $110,000. What is it about your lessons that other online painting instructors can’t offer?
I teach my approach to portrait painting and the use of a limited palette. This makes the process more accessible to people who are just starting out or want to get into oil painting but think it’s too complicated. As for the limited palette, it’s not a new idea, but it’s very useful for beginners. Not only because it is more cost-effective, requiring just a few basic colors instead of dozens of tubes, but also since it helps beginners explore the properties of different paints and practice color mixing. In short, it simplifies the whole process. The paint colors I recommend are especially well-suited for portrait painting.
You have paintings in various genres, but it is portraits that brought you recognition. Can you walk us through your process?
I like to approach portrait painting from general to specific, but I go about it one area at a time – I don’t immediately block out the entire face or large color masses. Instead, I start with a light sketch, establish the main features and proportions, and then focus on each area individually. I usually begin with the upper part of the face and the eyes, then work my way down, while continuously evaluating the portrait as a whole throughout the process, as all the elements need to come together. It’s important to maintain accurate proportions, anatomy, and likeness. This approach makes the process more structured and less intimidating, especially for beginners. I do most of the work in one layer – wet-on-wet, also known as alla prima. Afterwards, I might add corrections, make small adjustments, or do glazing to enhance color or depth.
Are you ever concerned about creating imitators through your courses? I’ve noticed people on Instagram are already tagging you in their creations.
I don’t think so. Beyond technical skills, I value self-expression in art and encourage those who learn from me to use my advice, develop their techniques, and improve painting skills while adapting everything to their own style and exploring subjects they enjoy. My goal is to help others build confidence in their own artistic pursuits and to make oil painting more accessible. I am pleased when I see my methods helping others grow and succeed in painting.
Despite your online popularity, you haven’t abandoned offline projects either. For example, you have participated in several large group exhibitions organized by museums and galleries in London, Barcelona, and other major cities. How important is this for an artist whose activity is primarily focused online?
I believe that today it is quite possible to find your audience through online platforms and sell paintings independently and directly. However, exhibiting, participating in various shows, events, or even art fairs is a proven path that also opens up new opportunities and can be beneficial for many artists. It all depends on the kind of career you want to pursue. I like to combine both options. I love taking part in exhibitions, and I plan to continue working with galleries and museums. Art often looks better in person, as photographs don’t always capture the full beauty and elegance of the work.
I know that you manage your own career independently and that some time ago, you created Daria Callie Studios for this purpose. The company has built a solid reputation and is thriving: you sell your artwork, courses, and workshops through it, and you collaborated with Netflix. How do you balance creativity with the business side of things?
I still find it difficult to balance the two. I believe that creating and making art should remain a priority, but a career in art also involves sales, networking, promotion, and other skills. You shouldn’t be a perfectionist and should delegate certain tasks to others so you can focus on the most important ones. It helps to have a clear plan and schedule; otherwise, there’s a risk of getting lost in the process of painting and not having time for other commitments. At the same time, it’s important to listen to yourself. If I feel inspired and energized to paint, I try not to lose the moment and use it to create. Conversely, sometimes I’m more in the mood to do administrative tasks, so I shift my focus to those instead. This doesn’t mean the schedule isn’t necessary – it just means that sometimes you have to be flexible and adjust your plans to be more productive.
Tell us about your plans. In what directions do you want to develop?
Speaking about my creative work, I want to focus on conveying emotions more deeply and continue developing my ability to tell stories through the characters in my paintings. I also plan to incorporate more movement and elements of nature, such as flowers, plants, and natural textures. I’m considering working with larger formats as well. Currently, my paintings range in size from 40 by 50 centimeters to 1 by 1 meter, and I’d love to go beyond these dimensions. In the future, I also plan to conduct more face-to-face workshops. I think I’ll be able to schedule something like that this year, as I really enjoy teaching in person, and I want to grow in this direction.
