#its art without an artist. and it IS it really is

[meredithgran]

About Newspaper Comics

An ask cross-posted from Cohost, which is not long for this world.

Anonymous User asked: I would like to know your opinions about newspaper comics

This is a very choose your own adventure kind of question. Am I meant to speak about the art or the business of newspaper strips? The current state of newspaper comics or their century-spanning history? Stream of consciousness it is.

Newspaper comics were the original dream for me before all other dreams. I fell in love with Garfield and the story of its success, and wanted to make a syndicated strip at an early age. Later, I fell in love with Calvin and Hobbes - itself a lesson in craft, history and business - and abandoned the syndication dream for “art by any means necessary”, and dove into webcomics. (There were a few more steps along the way, but that’s the basic trajectory and not uncommon for my age.)

In the 80s and 90s when I was dreaming Garfield dreams, syndicated newspaper strips were already dying. They’d been jam packed so tightly into rectangles in the comics section that no room for great cartooning remained. The schedules were brutal, the audience was broad and apt to complain, and the aging comics legends were phoning in or delegating their work, so even the full-page Sunday strips were gridded and lifeless. Even fresh new artists (rare as they were) were hammered creatively into the shape of the paper. The death of most major newspapers from the late 00s onward spelled the end of Garfield Meredith's dream.

The thing is, Garfield Meredith would be very pleased with the present day. Comics are bountiful, they're free to read online, and they're all accessible from a single app. Even better, the creators interact with their audiences day and night. In comics we have safely returned to the late-stage newspaper syndication model, after a brief "art by any means" era, with 24/7 access to the creators as a bonus. It goes without saying that most of the money these comics generate goes to the platform. As more people discover online comics, the memory of any other model has faded. Comics is a pushover industry, easily steamrolled by detached parties with money.

So what do we do? I'm afraid that's not what this post is about. Mom's tired. My heads is not really in the comics game anymore, and big tech & our rotting internet is a problem everywhere. But I think discussions about our history as cartoonists and comics appreciators - and an acknowledgment of what is disappearing - is important. It's no surprise that Bill Watterson's stubborn refusal to license, adapt, or needlessly continue his creation past its prime shocked me and many others onto a different path. I think it is useful to be a high-functioning crank in your own age: to fully accept the now without forgetting past possibilities or drawing a border around the future.

And of course, we mustn't let current trends tame our wild imaginations or our command of the craft. We have been given the tools to create beauty and make sense of life, and these creations - not the platforms that indiscriminately corral them - are worth sharing.

[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

[steddiebang2024]

STEVE AND EDDIE MAKE A PORNO  |  Explicit  |  55k

Author: @hitlikehammers

Artist: @hagnoart

Beta Reader: @dontwasteyourchances

[Link to fic]  |  [Link to art]

Pairings: Steve Harrington/Eddie Munson, (background Robin Buckley/Chrissy Cunningham, Nancy Wheeler/Barbara Holland, Jonathan Byers/Argyle; porn film scene pairings indicated in the relevant chapters)

Characters: Steve Harrington, Eddie Munson, Robin Buckley, Nancy Wheeler, Chrissy Cunningham, Jonathan Byers, Barbara Holland, Argyle

Tags: Friends to Lovers, Nay: oblivious!BEST friends to lovers, Romcom, Porn, Y’know because shooting a porno is the orienting plot device, Humor, General Shenanigans, Coffee-related Innuendos Abound, Platonic Stobin, Happy Ending (not THAT kind), (…okay also a lot of that kind because again: THEY ARE SHOOTING A PORNO)

Trigger Warnings: This fic is inspired by a film where the filming of a porno is a central plot device; sex positivity, orientation positivity, sex-and-pairings-for-aesthetic-appeal-NOT-for-endgame-purposes are the name of the game.

↳ Keep reading below for a summary!

Unlikely but inseparable best-friends-since-middle-school Steve Harrington and Eddie Munson move in together after graduation and, honestly? Lead a semi-stable if generally-uneventful life (or not-entirely uneventful, fine, because Eddie takes personal offense to that characterization of anything involving himself): but they make a decent living as minimum wage grunts and they never starve, which of course counts as a win in late-stage capitalism. So what if it’s always been paycheck to paycheck and they’ve only just made it outside their hometown: they still do earn their paychecks, Eddie’s booking more weekend shows to pad his kinda-pitiful record store wages, the cafe Steve works at is expanding and a promotion to senior manager isn’t wholly out of the question, and they did make it out of their back-assward hometown, no matter how far they got. Most of all, through better or worse, bound thicker than blood: they’ve got each other. It’s not the life Steve was raised to expect, but it’s not one he’s trade for anything in the world. 

Which is still true when, due to a very unfortunate lack of communication—with good intentions! It honestly was all above-board and stupidly well-intentioned—they may have entirely unwittingly paved their way into bills-so-overdue-the-utilities-are-canceled. Like: bye-bye-water-mid-shower-canceled. 

Which: fucking late-stage capitalism. Ruining everything. 

And it is ruined: it’s the holidays, which means there are extra hours but they’re being vied for Hunger Games style, and the lack-of-heating thing’s going to be a real problem with the Midwest winter that’s creeping up quick. Basically: ‘up shit creek without a paddle’ is an understatement. 

But then, opportunity presents itself in the most time-honored of professions when they run into the shocker (or: not-really-a-shocker, dude was hella repressed) partner of a straight-laced douchebag classmate at their ten-year-reunion: an adult film star who reveals $100k could be within their grasps—bills paid, debt cleared, money to spare for the first time in forever—if the form of...well.

Shooting their own porno. 

So umm...fucking late stage capitalism? 

And honestly it’s a solid plan, despite being absolute insanity (though that’s honestly unsurprising because, again: nothing’s uneventful when Eddie Munson’s your best friend), but the question that rears its head ultimately isn’t one of revenue, but one they probably should have thought through a little harder from the get-go: when budget’s tight, cast is limited, and promotional value is crucial—alongside everyone banging everyone? 

You’re also probably gonna have to fuck your best friend on camera for cash in the process.

(Goddamn previously unrealized and unacknowledged feelings late stage capitalism, man. Fucks up everything.)

[hyun3hk3y]

Symbolism in "Portrait of Lady Edelgard Von Hresvelg"

This is something that I’ve usually never really felt comfortable doing. If you ever wonder why some artists are a bit more reluctant to actually *talk* about the “meaning” of their work, its because it strikes the same tenor as having to explain why a joke is funny.  If I have to actually lay it out for the viewer why certain decisions were made in the execution of a work of art, the magic of the whole experience may be lost.  Moreover, many artists avoid making definitive statements on their work because they do not wish to deprive viewers the opportunity to derive their own unique explanation. 

While I chiefly view myself as a fine artist, most of my artistic training was as an illustrator.  As an artist, this can lead to an interesting dichotomy when it comes to creating paintings.  During my studies, I was told that the job of an illustrator is to solve pictorial problems for people often by making pictures that tell a story or convey an idea.  Fine art’s definition, in contrast, tends to be more nebulous.  But I digress, on to the painting…

A number of people on reddit and Tumblr have remarked on the candle with the snuffed-out flame.  No interpretations on it have been offered, the mere presence of a candle with a smoldering wick is a strong enough implication.  However, this is one instance where I drew inspiration from art history so I believe it is worth elaborating on.  The animus for the candle originates in the Arnolfini Portrait by Jan Van Eyck.  Below is an image of the painting with the pertinent candle circled.

Art history scholars have a number of different readings about the candle’s presence, but the one I was taught in Art History is that the lit candle indicates the presence of the holy ghost or the watchful eye of God.  Three Houses draws from a number of religions for its world building, in the case of The Church of Serios, the developers took the majority of their cues from The Catholic Church.  If a lit candle would suggest Edelgard’s faith in the Goddess, then an extinguished one must imply Edelgard’s *loss* of faith. 

In addition to the extinguished candle, I would also like to direct viewers to the reflection of the candle in the polished wood table surface. In the reflection the candle is still burning very brightly, almost down to the base of the candelabra.

The purpose of this image is to recall a saying from old Taoism Philosophy in China: “The candle that burns twice as bright burns half as long.”  Those who are familiar with Edelgard’s back story in Three Houses will find its relevance obvious.  I doubt I am the only one to make the allusion.

This brings me to the next major piece of symbolism I employed in the painting, the dagger and the drapery on the table.  The dagger’s significance should go without saying, but its application as a device will become more apparent after I explain the table cloth.  To put it succinctly, the majority of the dark shadow shapes made by the tablecloth are arranged to evoke the shape of the crest of flames.  Below is another visual to help illuminate this detail. 

The immediate implication here is the detail of Edelgard possessing the crest of flames.  As for why I decided to depict it in a more concealed way…When I first got the idea for this painting, the whole concept was that if a person saw this painting in a gallery, they would be looking at an actual artifact from Fodlan, one that created by an artist who actually lived there.  This is why the second row of the inscription reads “In the Imperial Year” on the left side and “1179” on the right.  This means the painting would have been completed just before Edelgard starts attending Gareg Mach, and long before the greater public would know she has the crest of flames.  How the artist came to know this would remain a mystery.  I like to imagine it as a detail that Fodlan’s historians would debate over for years after the game’s narrative.

There is also a second message that I have intended with the dagger’s placement cutting (heh) across the crest…Gripping the dagger over the crest of flames is a statement about what the path is that Edelgard will take, especially when the crest is examined as representing the Goddess Sothis.  In fact, there are two (technically three) lines of dialogue from Three Houses I had in mind for this symbolism.

That about sums it up!  I may do a couple more posts in the future where I show how the painting evolved from thumbnails, to studies to the finished image if theres interest in that sort of thing.

[acaciapines]

rereading 20020 bc of course i am and. i just love nine okay.

[collophora]

Do yourself a favor and go read the entire fanfic work of @fanfoolishness

(In order: Under sun and shade, Blind Side, and Breathless (patching up is one of my fav too, I just had no cool sketch idea for it)

[podoro-vines]

[oc] I have no body and I must bleed 🩸

[sunlit-mess]

sick(?)

[tsubomiiiii]

Vampires are allergic to Garlic like how some people are allergic to lactose.

It tastes far better to them than it does to us, but the aftermath leaves them with a really upset stomach.

With this being stated, Silver and Espio deserve to get some pizza or something together

I had to at least doodle all this down thank you for your big brain anon

[yourlocalkiwienjoyer]

『Look at me, you can't ignore.

Be with me forevermore.』

If you like this post, consider reblogging it to help me grow! :] Thanks <3

[creativesplat]

I would also like to see some miphlink, if that's okay!

I was really struggling with what to draw, and then I remembered your ask from ages ago (dang ADHD brain...) anyway, sorry its such a late answer, but Miphlink inspired by Dicksee's La Belle Dame

[dreamydelite]

Oh how could I face the faceless days If I should lose you now

[duu-kiwi]

is now the time when i finally take out the license to be horny on main???

[uncanny-tranny]

Part of why I think it's important to pick up a skill that requires challenge or skill is not only that it can be a great experience to have, but it teaches you so many things you never expected.

I've realized the reason I feel ancient crocheting is that this is a skill humans have been doing for thousands of years: textiling, cloth-making, and creating. Technology is amazing, don't get me wrong, but I think many people take for granted what technology has done for us, and we forget sometimes that these skills take work and effort, and continuous effort!

It doesn't matter what you pick up as a skill or craft, and you absolutely should do it in a way that accommodates you, but finding a skill or craft and doing it will teach you things you never considered.

[sleepyconfusedpotato]

Mama I made it !!!

My OC ship got into the top searched on Pinterest even though I never posted anything there !!!

LFGGGG ❤️‍🔥❤️‍🔥❤️‍🔥

A win is a win ✊🥲

[sirfluffyknight]

Hi tumblr

I guess I'm a furry artist now