#i think from now on its all illustrations

[spidermanifested]

heres MY rambly black sails analysis for the day, after watching the show twice in as many months i wholeheartedly believe in the "long john silvers quote unquote missus in treasure island is max, not madi" theory

the most obvious thing, as others have pointed out, is that in treasure island long john silver runs an inn with his wife, a black woman, in bristol, which is absolutely not madi behavior-- i cannot imagine madi would take him back in the first place much less move with him TO ENGLAND-- but IS maxs exact area of expertise. but theres so many other things that cement it for me

as early as episode 2, max tries to convince eleanor to buy out the inn and run it together with her when england takes nassau back. this is her dream-- to share power over her life with a woman she loves, free of the pressures of the outside world. (youll note this also happens to be silvers dream for himself and madi. the parallels)

in season 4 shes faced with the suspiciously similar option to take a husband to be the face of her business, completely on paper, for the sake of the public eye. and she refuses! she doesnt want to give a man that kind of power over her. not only that but she desperately wants to retain some kind of truth in her identity-- she admires anne for her honesty, her courage. these are things she can rarely afford to express. in refusing a marriage of convenience, she asserts her autonomy.

But. black sails tells us over and over again that an oppressive society will always find ways to batter down these private boundaries. there is no island safe from colonial rule. mirandas peaceful house in the interior is burnt to the ground. the maroons are forced to accept a freedom that comes at the price of abandoning those still enslaved and taking part in their continued subjugation. the things it takes to make these spaces are terrible, and unsustainable, and when it comes to being gay in the 1700s there is a tightrope to walk between privilege and privacy, one that destroyed flint and the hamiltons, thats even narrower to max as a self-made woman of color.

given all that, i do not believe she can girlboss her way out of her circumstances no matter how many lessons she took from what happened to eleanor. nor do i think the show believes it. i think the political-marriage-offer plot point is another illustration of that theme-- maxs desire, and silvers desire, to build a warm, happy room in the middle of the imperial machine, without meaningfully striking out against the machine itself, is destined to be futile no matter how strong they are as individuals.

max and silver are mirror images of one another. each of them is essentially the narrator of one half of the story. it is absolutely agonizing how BOTH of them tried to convince their lovers to abandon their ambitions, to settle for a quiet life with them, and in doing so saw that relationship destroyed by their own fear of an uncertain future....

....And its even MORE agonizing to imagine them finally securing the trappings of a domestic life... but without the love. and they know the love was what mattered! theyre always going to know!!!

it bookends PERFECTLY with their alliance at the start of the series. theyre right where they started, trusting no one, pretending to be humble and harmless, planning to steal the EXACT SAME TREASURE, except now theyre 50 years old and jaded and bitter and both pining after their lost loves. silver probably pictures madi whenever he tells people about his wife. when he and max have time to themselves they talk solely about finances and nothing else. its honestly impressive how miserable this is for every single person involved. im losing my mind

[genericpuff]

What do you think about Reachel's new redraw?

I feel like the characters look good but the background is too gray compared to the original one 😕

It's pretty rough, ngl. Not even necessarily because of the art itself, but because it's not a panel she should have ever redrawn to begin with.

The whole point of that scene was to showcase Persephone bringing life into the Underworld, a place where only death existed, but in this redraw it completely lacks that messaging, resulting in a scene of Persephone and Hades simply hugging each other in the dark with very dead-looking foliage surrounding them.

On a structural level, the composition has gone from vertical to horizontal, giving us way too much empty space around them which, again, is failed by the background being so dull and lifeless; Persephone's somehow become even smaller; and worst of all (though I'm sure some people will think I'm overreacting) her hair isn't tucked up in Hades' arms anymore, it's just sort of falling perfectly over his shoulder as one solid goop of pink, strangely changing shape as if it's resting on something but there's clearly nothing there.

That said, my opinions should be taken with grains of salt because I also have a lot of personal beef with a redraw like this - that original panel was my phone background for like, 2 years, and the episode it came from is still one of my favorites of all time in spite of all the criticisms I now have of the series, with art that originally inspired me to want to learn how to draw like Rachel.

There's been a lot of evidence over the past year or so to suggest that Rachel has "fallen out of touch" with her own work and these redraws that she's been making lately feel like tangible proof of that. The context in which she created those original panels no longer exists so to try and redraw them fundamentally misses the point of why they were so iconic to begin with.

I can understand that feeling of falling out of touch with your own work, to the point of not even seeing the appeal of it yourself anymore, but that's all the more reason to keep moving forward, not back. The fact that she's still just muddling around with LO stuff despite announcing two more projects and seemingly not making any progress with either the TV show or Rachel Smythe Presents... it really does seem like she's stuck in limbo. The deadlines and contractual obligations aren't there to motivate her anymore, and while that may now have freed her from the burden of creating LO in such a cramped and unhealthy space - now being able to create it simply for herself - I think the years of working on it have definitely taken its toll on her ability to create the way she used to and so we're seeing those growing pains now.

The real bummer about it is that it's being celebrated as "growth" but it's about as much growth as the illustrated environment above - dead and bleak.

[gabrielleragusi]

For Artists: My Experience with Commission Platforms and Illustration Agencies

Hi there! I’ve been wanting to compile a list of commission platforms that I’ve personally used for the longest time, and I finally did it! I’ve highlighted the still-active commission platforms in bold and struck those that don't exist anymore so you can jump to the sections that interest you without needing to read my entire story.

Let me start by briefly introducing myself.

I’m Gabrielle, a fantasy illustrator. Since 2014, I’ve been working on book covers and illustrations for publishers, authors, and book subscription boxes. Early on, work wasn’t as frequent as it is now. I had to search for opportunities myself, and even small private commissions were important for building my portfolio and earning some money, which I’d spend on materials, books, and online courses. Like many other artists, I started out by trying my luck with the biggest art community available at the time.

DeviantArt

2009-2018

Once upon a time, there was a virtual haven called DeviantArt. To my teenage self, it was a magical place. I signed up in 2009 and thought I’d never leave!

At first, I created an account just to share my work and learn. I didn’t even think about commissions for four or five years. But when that first inquiry finally landed in my inbox, things took off! My mum swears she remembers my excitement when I got my first commission, but for some reason, I’ve completely forgotten about it. I can't remember what it was or how much it paid. It might have been a portrait of a fantasy character.

Commissions on DeviantArt were fairly frequent, especially considering my cheap prices at the time. I used to offer discounts and post my rates in my DeviantArt journal, or in Commission groups that featured artists either monthly or weekly. After checking out my profile, a client could simply send me a private message and from there, we’d discuss payment, deadlines, and other details, and the platform didn’t take any fees, much like how ArtStation works today. Everything happened through private messages or email, with direct contact between artist and client.

The downside of this process was that there was no dispute resolution system on the platform. I had to handle all issues myself, and unfortunately, problems did arise sometimes: there were clients changing their minds about commissions, asking for refunds after work was delivered, refusing to pay, or just ghosting me. These issues didn’t happen because clients were evil, but rather because I was inexperienced and allowed some to take advantage of my naivety.

However, all that frustration helped me develop my commission process through trial and error (mostly error). And despite the challenges, I can say with satisfaction that most of the commissions I received through my DeviantArt profile were positive experiences.

DeviantArt eventually introduced a commission feature for Core (Premium) users, which came with a platform fee, but I didn’t use it much, and I’m not sure if it still exists.

The real beauty of dA, though, was the connections I made. I was able to meet people, both artists and clients, that I’m still in contact with today, and some of whom I still collaborate with.

I closed my account in 2018 or 2019, but by that time, I hadn’t really used it for a couple of years. The new user interface was a bit of a turn-off for me. I had always loved the geeky, and dare I say cozy, look of the old green and grey aesthetic, with its customisable panels that you could move around and personalise with HTML code... But I digress.

Artists and Clients

2013-2016

While taking small commissions on DeviantArt, I discovered Artists & Clients. It was a nice platform for clients to get things like their D&D characters or groups illustrated for relatively cheap. I think my highest price was $50 for a single character portrait, with the platform taking a 15% cut. I used it for about two or three years before the platform started to change.

As more artists with hentai art styles flooded in, the homepage shifted, and so did the clientele. There’s nothing wrong with drawing naked anime girls, of course, but you can understand that if a client is looking for a fantasy, semi-realistic painting of their female orc character, or a realistic portrait of their spouse, it's more than likely that they won't bother sifting through a sea of anime girls to find the style they want, imagining it isn't here. Let's just say that, at the time, the website took a definite direction that wasn't in line with my genre, but this direction didn't make the different, more realistic art styles stand out either.

Soon, commissions slowed down for me, so I closed my account, but by then I was already working elsewhere.

That said, this platform could still be a useful tool if you’re looking to take on smaller commissions.

DreamUp

2014-2015

DreamUp wasn’t an AI generator back then. It was actually a subsidiary of DeviantArt, where clients could post projects and artists could apply. It was a competitive platform that offered well-paid work–very well-paid. I remember seeing jobs posted that ranged from $300 to $1,200. DreamUp was a very professional platform for clients with a mid to high budget.

I believe I landed my very first book cover commission through this website when I was in my last year of high school. I remember getting the job and going to school the next morning, excited to share the news with my classmates. Everyone was super thrilled for me (we were a really close-knit class!), and I felt like I was walking on air.

Unfortunately, as far as I know, that book was never released, but it didn’t matter because I was moving forward, and fast.

I’m not sure when DreamUp was shut down, but I do know that DeviantArt held onto the copyrighted name, assigning it to something so anti-old DreamUp that it still boggles my mind.

ArtCorgi

Now Artistree

2014-2019

When I received an invitation to join ArtCorgi from its founder, I already had a somewhat consistent portfolio. I was painting portraits and fantasy illustrations, and the clients on this platform were looking for both–your typical wedding and pet portraits, as well as book covers, which were what really interested me. To get to the latter, I had to do the former. Over the years, I’ve painted so many realistic portraits that now I have a strict rule for my own sanity not to do them any more. I have great respect for portrait artists, but it’s just not me.

When I first submitted my prices to the person I was in contact with, she kindly suggested that I raise them... a lot. That was a major step forward in my professional career. I went from charging $50 to $100/$200 overnight. And to my surprise, people actually wanted to commission me at those prices!

From 2014 to 2019, I took nearly every commission that came my way. I never spoke directly with the clients; all instructions and feedback went through my point of contact, which helped maintain a level of professionalism, although now that I’m used to working directly with clients, I’m not sure I’d want to go back to having an intermediary.

Sadly, as with all good things, this chapter came to an end. My point of contact eventually left communication in the hands of someone else, and shortly after, the commission fee changed to, I believe, 30%.

Simply put, 30% is an unrealistic cut for a website like this. For an agent that gets you all kinds of big work in the publishing industry, sure, but since this was not the case I had to stop taking commissions. Despite that, my overall experience with ArtCorgi was very positive.

Today, ArtCorgi joined another platform, Artistree. As far as I can tell, Artistree doesn’t take any fees from artists, with clients covering a small cost instead.

Sketchmob (?)

2016-2020

This was probably the platform I used the most. I’ve lost count of how many commissions I received through Sketchmob. Many. Enough to generate a steady income at the time. With reasonable fees and a variety of art styles available, clients contacted me almost daily. Communication was direct between artists and clients, and payments could be split. The review system also worked very well… for a while.

Once I raised my prices, requests became fewer and farther apart. But by then, I was already working with my own clients.

Is this platform still active? Who knows. The website is still up and the chat feature works, but I’ve seen users complain that money available for withdrawal never arrived via PayPal (the only payment method the platform accepted, if I remember correctly). Personally, I wouldn’t risk completing a job through Sketchmob right now, at least not until they release an update.

If you’ve used the platform recently and successfully received payment within the last six months, please let me know, and I’d be happy to update this section!

Upwork

2017-2019

In 2017, I was determined to break into the book publishing industry. After trying out Fiverr and Freelancer.com with no success (the competition was too fierce for someone just starting out), I decided to give Upwork a shot. The platform looked very professional, and while the process sounded a bit complicated, I wanted to land the interesting projects I saw featured in my category. I really wanted to work with a big client… but big clients didn’t seem to want me, despite having the Rising Talent badge.

In two years of bidding for jobs and submitting proposals, I only landed two projects: a small commission from a private client who actually reached out to me, and another project that I bid on.

Don’t get me wrong, I was ecstatic at the time and truly appreciated every opportunity that came my way. But looking back, I can see why Upwork didn’t work out for me. The platform just wasn’t the right fit for my style and niche, which is fantasy illustration. Graphic design, however, was (and still is) in much higher demand.

The commission process on Upwork wasn’t as simple as on other platforms. For instance, at the time, costs were calculated hourly, which was a challenge for someone like me who prefers working with flat fees (having already calculated my average hours spent on an illustration). From what I’ve seen, this has since changed.

One positive aspect of Upwork is its current 10% cut on what artists earn. I don’t recall if this has changed over the years, but 10% is quite reasonable in my experience. Of course, 0% would be even better, but for a platform as large as Upwork, 10% is fair.

Illustration Agency

2019-2021

By 2019, I had built a solid, consistent portfolio thanks to my personal work and commissions. I had a simple website in place, my Instagram following was growing… I was steadily working toward my goal of illustrating covers for big publishers (which didn't happen until two years ago).

So, when an illustration agency reached out to me one day, I was over the moon. I had always heard that artists were the ones who had to approach agencies, not the other way around.

Well, that should have been my first red flag.

I won’t name this agency because, unfortunately, I have nothing positive to say about it. In fact, the word “nothing” perfectly describes my involvement with them. Nothing came of this barely there experience.

The agency invited me to sign up, not on an exclusive basis, but they assured me they’d get me work. That work never came. Once in a while, I’d receive messages saying they were trying to pitch my portfolio to a French publisher or another client, but... nothing.

Please understand that meanwhile I was already working directly with shops and authors, so I don’t believe my portfolio was the problem. The real issue was something I didn’t realise at the time: some agencies do this. They feature talented artists in their catalogue without having actual clients lined up, just to appear more professional and credible to potential clients. Did this strategy work for them? Maybe. I’ll never know.

In 2021, I politely asked them to remove my portfolio from their website, and that was the end of it.

After that, I never actively sought out an agent again. By the time my portfolio was strong enough to approach a serious agency, I just didn’t need representation anymore.

Hireillo

2019-2022

My experience with Hire an Illustrator, or Hireillo, is mixed. At the time, Hireillo was a platform that hosted artists' portfolios, featured artist-submitted news, provided useful articles, resources, and directories of artists and agents. I joined the site hoping to catch the eye of publishers, but I was mostly contacted by authors and one fellow artist for a graphic novel.

Unfortunately, most inquiries didn’t go beyond the first couple of messages due to budget constraints. I did, however, have fun sharing news about my painting process and projects I landed on my own, which were often featured by the website. Additionally, if I had questions about 'complicated' things like copyright, or just needed advice, I could ask the website’s owner and that was incredibly helpful.

Despite these benefits, I didn’t see any real results, which was a little disappointing. The subscription fee was also... odd, for lack of a better word. $5 per week. In the end I just couldn’t justify the cost, so I stopped using the website altogether.

Reedsy

2019-2022

Finally, we come to the turning point.

I remember stumbling upon Reedsy randomly. It wasn’t very well known at the time, and I think it still isn’t. I was nervous when I submitted my portfolio because their catalogue features the best of the best: designers who’ve created covers for bestsellers, THE bestsellers, people who’ve worked on Stephen King covers, or George R.R. Martin's. Designers, editors, and marketers who are veterans. I didn’t have high hopes for my application. So, I was in shock when it got accepted.

I had an introductory Skype call with a representative from Reedsy, who explained how everything worked. Before the call ended, I remember asking if there was a good chance I’d get work through the platform. The rep laughed and said, “Yes.”

A few weeks in, I understood that laugh.

Reedsy has an overwhelming demand for book covers and commercial projects. For every designer there are many more clients. In peak seasons, I was getting requests almost every day. I’m not exaggerating.

Reedsy transformed my portfolio and my pricing structure. Thanks to the income I earned through the platform, I was finally able not to take everything that came my way but be selective and choose only the projects that really interested me.

The commission process is simple: artists pretty much decide how to split payments, what to include in agreements, and the best part, the most beautiful and helpful feature of all, they can request and adjust deadlines. For someone like me who's terrible with deadlines, this feature was a lifesaver. The admins are also very kind and responsive, available via email or chat.

Unfortunately (this is my last 'unfortunately', I promise), my time on Reedsy came to an end for personal reasons. I’ll explain since it’s no secret.

All my images on Reedsy were watermarked with my signature (my full name), which apparently violated the platform’s rules. Why? Because if a client saw my last name, they could contact me directly and bypass Reedsy, which meant the platform lost potential fees. I’ll admit this did happen a few times, but I had the good sense to redirect the client back to Reedsy.

After three years, an admin finally noticed and asked me to remove my full name from the watermark and any text on my profile. It was a simple and reasonable request, but here’s where the problem started. Profiles on Reedsy are public, and images appear in search engines like Google Images, meaning anyone could download my work and use it without permission. Sure, watermarks can be removed, but uploading my work without one in the first place felt like a bad idea. Btw, not only do I use watermarks, but I also use Glaze to protect my illustrations before sharing them online.

Anyway, for this reason, and also because I couldn’t get over the fact that full names were public at the time, something I won’t get into because, believe me, I tried over email, and my reasons went into the void (now, last names are just initialised, like Gabrielle R. Okay. Sure.), I had to close my account–they would have done it anyway because it was already 'flagged'.

Overall, if you’re willing to overlook the last name conundrum, I can’t recommend Reedsy enough. If you have a killer, solid portfolio and a love for books and editorial projects, go for it!

--------------------------------------------

I hope you'll find this useful! If you have any questions, please don't hesitate to ask (: Oh, and here's an old article I wrote in 2020, titled:

Tips to freelance illustrators to avoid being screwed over

Who knows, maybe I'll write another 'article' post in four years!

Instagram  - ArtStation - Website - Inprnt - Etsy - TikTok

[corntired]

Fanfiction is so goated actually

No monetary incentive, just writing in one's free time. Some incentive for like kudos and comments, because who doesn't want to hear that someone else enjoyed what they wrote. Just writing a story that is good and/or enjoyable, no real-life pressure to keep it going because god forbid you and other people are depending on it financially.

Writing a story because you want to write a good story, so you can write what they want the way you want, at a pace that is realistic for you, with exactly the plot pacing you want there to be.

[entropyvoid]

Golden Hour (+ lineart below cut)

I took a picture of the lines for once and did some basic crappy photo editing on my phone, so you could probably print this out and use it as a coloring page or something if you so wish lol. Do with it what you will.

[ren-lui]

>> I'M THINKING MIKU MIKU OO-EE-OO <?>

[kyurochurro]

MARTEY WE GOTTA GET BACK (tm) TO THE (C) FUTURE (TM) (C)

[ganondoodle]

a wild assortement of comic wip screenshots and a random doodle that i posted to twitter but not here

(this doodle here is of Raal (aka demise before he became a deity) but whatever happens here isnt anything 'canon', i just randomly doodled him to try a loosen up my painting style bc when i work on the comic i tend to concentrate too much of rendering it perfectly and i dont like that)

[jaevy]

your room was square

i once noticed from there

in your bed, as you slept

and i held my breath

everything had its own place

and i wondered what space would i take

in the order you kept

[blitheringbongus]

Can't believe Scar saw a rapidly approaching, dishevled mumbo and went "he's so cute." I need to run unorthodox experiments on them.

IKR SAME OMG

They’re literally perfect for each other <- delusional

But seriously they have so much lore together in my silly brain and the few interactions they do have (WHICH HAS BEEN INCREASING A LOT LATELY MAY I ADD) has been FUELING the fire rapidly and gods gods GODS do I have many thoughts about them

[critical-birb]

Sometimes I feel inspired to pick up my art supplies again and draw and paint and print beautiful things. I feel a burst of love and passion like I had in my youth to create things and share them with the world.

Then I log onto Instagram or twitter or any of the places I was aggressively told in university to post work to eight times a day if I even wanted a chance to break into the industry, and I see every small company that uses to be the entry points for young artists now using crummy AI art for everything they do and all of the larger companies and publishers advertising art that has been so aggressively forced into one very specific, lifeless style because that is what fits the market and is quick to produce.

I see every artist desperately posting the most beautifully crafted artwork that means the world to them and those posts being mindlessly ignored until they beleive their work is worthless because Internet culture has unfortunatly conditioned us all to be bottomless consumers and so hundreds of hours of blood and tears is nothing more than something to scroll past.

Then I log out and go back to bed, and my art supplies sit sadly on the shelf another year.

People love to say "create for yourself!" but that only takes you so far. Humans create as a way to share.

Imagine you baked a stunningly beautiful cake every week to bring to work - it took you practically the whole weekend to bake every teir and frost it and decorate it to perfection. And either no one eats it or a single piece gets taken, and nobody ever thanks you. There's a thousand cakes on the coffee table; most either store-bought ones or even fake ones.

Eventually you stop bothering to bring a cake in. You still bake, sure. You like baking. But you don't make beautiful cakes anymore. You only have you to bake for, after all. What's the point in making them beautiful or trying to create something new when you could just eat it out of the baking tray with a fork?

Its just all so....sad, isn't it?

[deus-ex-mona]

anyways! it’s herohei hours~~~~~~

[kkuline]

the universe has moved for us

[grayloch]

10 YEARS OF BEING HOPELESSLY DEPENDENT ON THE TUBE!!! But really.... at the time of posting this, 10 years ago I was hospitalized after becoming blind. It was an experience that shaped so drastically who I am today.

I wanted... Needed to draw something that was a blend of me in that moment then and me now.

[a-sleepy-ginger]

29/3/24

✿❈✿❈✿

Artms release!!

Grapes

Got a good start on my history assessment

Laughed with family

[grasshoppergeography]

Hey All,

I've been away for some time, as we've been working really hard on something quite exciting:

let me present to you the world's first ever global ocean drainage basin map that shows all permanent and temporary water flows on the planet.

This is quite big news, as far as I know this has never been done before. There are hundreds of hours of work in it (with the data + manual work as well) and it's quite a relief that they are all finished now.

But what is an ocean drainage basin map, I hear most of you asking? A couple of years ago I tried to find a map that shows which ocean does each of the world's rivers end up in. I was a bit surprised to see there is no map like that, so I just decided I'll make it myself - as usual :) Well, after realizing all the technical difficulties, I wasn't so surprised any more that it didn't exist. So yeah, it was quite a challenge but I am very happy with the result.

In addition to the global map I've created a set of 43 maps for different countries, states and continents, four versions for each: maps with white and black background, and a version for both with coloured oceans (aka polygons). Here's the global map with polygons:

I know from experience that maps can be great conversation starters, and I aim to make maps that are visually striking and can effectively deliver a message. With these ocean drainage basin maps the most important part was to make them easily understandable, so after you have seen one, the others all become effortless to interpret as well. Let me know how I did, I really appreciate any and all kinds of feedback.

Here are a few more from the set, I hope you too learn something new from them. I certainly did, and I am a geographer.

The greatest surprise with Europe is that its biggest river is all grey, as the Volga flows into the Caspian sea, therefore its basin counts as endorheic.

An endorheic basin is one which never reaches the ocean, mostly because it dries out in desert areas or ends up in lakes with no outflow. The biggest endorheic basin is the Caspian’s, but the area of the Great Basin in the US is also a good example of endorheic basins.

I love how the green of the Atlantic Ocean tangles together in the middle.

No, the dividing line is not at Cape Town, unfortunately.

I know these two colours weren’t the best choice for colourblind people and I sincerely apologize for that. I’ve been planning to make colourblind-friendly versions of my maps for ages now – still not sure when I get there, but I want you to know that it’s just moved up on my todo-list. A lot further up.

Minnesota is quite crazy with all that blue, right? Some other US states that are equally mind-blowing: North Dakota, New Mexico, Colorado, Wyoming. You can check them all out here.

Yes, most of the Peruvian waters drain into the Atlantic Ocean. Here are the maps of Peru, if you want to take a closer look.

Asia is amazingly colourful with lots of endorheic basins in the middle areas: deserts, the Himalayas and the Caspian sea are to blame. Also note how the Indonesian islands of Java and Sumatra are divided.

I mentioned earlier that I also made white versions of all maps. Here’s Australia with its vast deserts. If you're wondering about the weird lines in the middle: that’s the Simpson desert with its famous parallel sand dunes.

North America with white background and colourful oceans looks pretty neat, I think.

Finally, I made the drainage basin maps of the individual oceans: The Atlantic, the Arctic, the Indian and the Pacific. The Arctic is my favourite one.

I really hope you like my new maps, and that they will become as popular as my river basin maps. Those have already helped dozens of environmental NGOs to illustrate their important messages all around the world. It would be nice if these maps too could find their purpose.