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zadudu2 · 2 years ago

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Why I’m Leaving Freelance Commission Work An essay about doing furry commissions by DandyDingo

Preamble First and foremost I’d like to state that this is not a post geared toward complaining about commissioners or fellow artists in my industry. I’ve simply noticed a concerning disconnect between commissioners and artists about several topics and wanted to make something that explains, clarifies, and elaborates on some of those issues.

I love the community I’m a part of and would like to see it do better! Though it’s a meme that if you want to make money as an artist you should become a furry, it’s actually a double edged sword that I’ll be trying my best to pick apart and display. The following points I’ll be rambling about are also based on my personal experiences working in this type of career for 3 years. I am by no means the most qualified but I’m not the least qualified either; this to say please take what I say with a grain of salt. It won’t apply to all situations!

With those disclaimers out of the way, get ready for a whole lot of reading!

What is this job and how does it work? Typically when someone is referring to a furry artist they mean an artist selling illustration commissions on a freelance basis. There are many different kinds of independent creators though and this could include someone who sells merchandise, makes a living off patreon with comic work, or does fursuits. For the sake of staying focused we’re discussing artists who specifically sell illustrations and work one-on-one with commissioners to accomplish this.

As any seasoned commissioner knows, the way an artist’s process works can be varied but typically involves:

buying an open slot for a commission type (ex: a painting)

handing over your references, requests, and paying

waiting for a work in progress image to approve

receiving the final product

This process is the basic premise, an industry standard if you will. The artist gets the benefit of controlling when they can take on work and the commissioner has the opportunity to communicate what they want at multiple stages of the project.

But why are there so many variations to what projects an artist will even accept, what’s in their TOS, and how long it takes them to do it?

Specialization The thing about many furry artists is we’re independent creators with little to no formal education in illustration. We’re not the type of artists you see putting together Magic the Gathering cards or developing a big title game. To expect that level of industrial standard with speed and quality would be ludicrous! This is what makes us appealing to commission though- you’re not going to find our product anywhere else and you’re supporting an artist you like directly.

In fact, every furry artist is a unique snowflake with their own specializations. This is partially since art takes a ridiculous amount of time to get good at. An artist is almost forced to choose what they can offer and what they’re going to invest in trying to sell. This can even be out of our control! For example, one of the running jokes with my slice of community is the fact that after drawing a single bird furry there was suddenly an entire flock asking me to draw their bird sonas.

Specialization directly rewards furry artists with more steady income / clients and thus they might have to restrict what they can offer. Again, learning to draw something new takes a lot of time. An artist who has never touched backgrounds will struggle a lot to suddenly try and include them in their work. This doesn’t mean it can’t be done or that an artist doesn’t want to. I would even argue this hyper specialization can often leave artists in a depressing loop they feel they can never escape from. If they suddenly draw something else it won’t sell, their personal interests have been buried by what actually works on the market.

Some artists do break this mold though and either enjoy the specialization they’re in or are experienced enough to draw whatever they fancy at a high quality. Perhaps even, their audience expects and celebrates an experimental approach from them which is something that’s true in my case. One of my most successful commissions were “surprise bags” where requests and edits weren't even allowed! Others are not fortunate enough to have that option though.

In any case, this is not the sole reason for the insane variety we see in furry artists and why their commission processes vary so much but it is a huge part of it. For context, the level of skill you see in my art took 5 years to get to and I would consider myself intermediate at best. It’s truly an underrated skilled trade.

Prices - Part 1 Cost of Living Money, everyone’s favourite non-controversial topic! So why is furry art so expensive?

It costs a lot to be a living breathing creature with a roof over your head and food in your belly. We all feel the current effects of inflation and ridiculously high rent. This is definitely a big reason why art can / should cost a lot and believe it or not MOST artists do not make minimum wage.

This doesn’t just apply to furry artists of course and I would be beating a dead horse on something we all already know, the economy is in a terrible state right now. It depends on what country / area you live in, what your living situation is, if you have any pets or health issues, etc.

In general though, that $200 price tag for a reference sheet doesn’t make the cut in most places. It might be the single biggest reason why I cannot continue this work anymore, the price I can sell something for is only so high but my workload will remain the same. That reference sheet will take me 2-4 days to complete no matter what if I want to maintain the good quality a commissioner is (understandably) paying me for.

Depending on what you're selling and where your experience level is at (the more experienced you are the less time it takes to complete something at an acceptable quality) a commission can take 1 hour to finish or it can take 12 hours. So… just do a lot of smaller cheaper stuff right?

Prices - Part 2 The Great Artist Killer, BURNOUT If an artist cannot manage to sell a few big things to meet their monthly bills they might instead switch gears to sell lots of small affordable things. This can mean doing 20-40 commissions a month at a back breaking pace. While all jobs slowly drain the life out of your soul, art demands a level of mental focus that is often overlooked and in the case of this career, you only have you to do the work that is required.

There is no one to cover your shift, there is no one to assist you, and if you don’t make your deadlines your reputation is at stake. The very same reputation of good work ethic that keeps your commissioners coming back the next opening. You must push through the burnout! You must work until your hand aches and bleeds! You must- there is no one to save you from this Hell!

If you try to be an affordable or high production artist this is the life you have to look forward to. Desperately churning out product as you retrofit your creativity and passions into a well oiled machine. Often to try and prevent this artists will raise their prices to something they can live off without breaking themselves or have a mix of high / low prices. A middle ground if you will, something that still doesn’t make the standard of living but isn’t a death march either. It’s a precarious and strange limbo with financial insecurity but hey… at least you’re not dead. It should be noted as well that most artists struggle with some form of mental illness and selling commissions might even be the only career open to them. This is not a topic I feel qualified to speak on but it does play an enormous role in experiencing burnout and the general struggles of this career.

Prices - Part 3 Afterthoughts While I wish artists could push for an appropriate living wage, I understand the commissioners' side as well. Spending $100 that could go toward groceries is just not feasible for the vast majority of us and so when we see something that is actually in our range, a $20 headshot or $10 sketch, we often hop on it without a second thought on the ethics of paying that low. It is okay to buy a treat for yourself that is within a price range you can afford though! You should never spend what you can’t nor should you ever feel pressured or guilty to buy something.

If a commissioner is concerned about paying enough I would recommend saving up and giving as big of a tip as you can! Artists are almost always underselling themselves and even just a $5 tip covers the cut that Paypal takes or buys them a coffee to get through the day. Buying what’s reasonable for you is absolutely still supporting them and a little goes a long way!

NOTE : any artist can experience burnout or struggle with meeting minimum wage no matter what they’re selling; this is a hard topic to pick apart Making Art - Part 1 The Process So how does making art work? That might seem like a silly question but it’s hard to understand when you’re not the one creating it. Given how closely a commissioner and artist must work together in order to achieve a desired result I think it’s worth breaking down what goes into making a piece. Of course every illustrator is different but here’s how it generally works:

Hope You’re Mentally Well Art requires mental concentration, particularly for something complex such as a city. Often a bad mental state can be worked around but sometimes the process stops here- you’re just not able to focus enough to measure out that perspective or break down the complex anatomy that goes into drawing a hand.

Find References An artist may need to take an hour or so to find the right references or to make thumbnail sketches. Especially if your client asked for something specific (like a particular brand of whisky) you need to know what it looks like and how it will fit into the piece. For small quick pieces though this is usually a waste of time and skipped.

Sketching Here is often where the commissioner sees the first glimpse of work done- the sketch! Some artists are messy, some are neat and tidy. They might be drawing you a reference sheet or a headshot but either way you typically get to take a glimpse at their blueprint and ask for changes before the rest happens. Sketches are easy to change and can be redone from scratch with the least amount of time lost if needed. It is the optimal step to work with the client on making sure expectations are met.

Rough Render To keep it across the board for all types of art (painting, cell shading, lineless, etc) we’ll call this part the rough render. A commissioner may be shown the flatcolor swatch to ensure markings were drawn accurately, the lineart to double check all requested details have been included, the rough lighting to give an idea of the mood… the list goes on and on! Some artists skip this step entirely if it’s not needed, there is such a thing as oversaturation when it comes to communication.

Final Product This is simply where the commissioner and artist part ways once everything has been approved, the final product! It may have taken hours or days to get to this step but either way it’s been completed.

Making Art - Part 2 When It Doesn’t Go Smoothly Sometimes an artist’s workflow is so rigid even a single missed day from bad mental health or a life event can have a cascade effect that puts them behind schedule. Quite literally an artist can only draw for so many hours before their hand (or body in general) physically gives out. I’ve had work days where I’ve tried to push myself in order to catch up, to the point of rubbing the skin off my finger enough to make it bleed. In the long run this can mean career-ruining cases of carpal tunnel in the wrist or hand and like with any other desk job; your neck and back aren't very happy about the workload either. Artist work days are often shorter than what’s considered normal which adds to the general difficulty of the career as well. While some artists can certainly work that full 8-10 hour shift, others might only be able to handle 3-6 hours before they can’t concentrate or are in too much pain to continue (speaking in long term for that one, it took a few years of regular work before I started having real physical issues from drawing too much). Given most are stuck at certain price points for selling their art it’s almost impossible to charge more in order to compensate for these possible missed days. It’s an issue with other careers as well which I do want to acknowledge; missing even one day of work could mean less groceries that week or cost someone their job in extreme cases. We truly live in a society! It should be noted though that keeping an impossible schedule is a huge stressor for artists who are stuck having to produce more than they can mentally or physically take on. They often know they can’t do it but what other choice is there- not buying the medication you need that month? This always seems to lead to something public and discussed a lot in the community; the instances of being issued a refund out of the blue or seeing a lengthy mental breakdown post about suffocating in the stress of it all. The wear and tear on creativity is visible as well. An artist’s work may become monotone or lifeless as they sink further from the weight of impossible to meet expectations. They might struggle to produce what they used to be able to as time marches on or simply feel unbearably hopeless. If the unsustainable workflow continues for too many years passion becomes strangled and real physical consequences are apparent.

Some are able to escape this or don’t have this issue! Others suffer in silence or might not be aware of the strain they are being put through, as is the case with plenty of other careers.

How Can I Support Artists? If you’re interested in making life easier for your favourite artist there are a few simple things you can do; specifically in regards to the commission process!

Read the Terms of Service This is not something you should skip over as it could detail how edits are handled, what an artist is willing to draw, etc. It's beneficial for everyone that the TOS is read.

Look Before You Buy Take a peek at an artist’s gallery and decide if you like their style before you purchase anything OR buy a small sample to see if you enjoy how they draw your character! I feel some commissioners don’t understand that an artist cannot change how they stylize on a whim (for example a semi-realistic artist isn’t going to suddenly draw anime). If you’re indifferent or you like experimentation then this isn’t something you need to worry about.

Have A Reference Sheet Although reference sheets are expensive, if you frequently commission artists and are able to afford it BUY ONE! It saves a huge amount of time and frustration- so much so that some artists won’t even consider accepting your commission without a proper reference sheet. Having to guess the body type or colors takes a lot of time and can easily be prevented!

Leave Wiggle Room Give an artist some room to breathe with a bit of artistic freedom! Do not expect them to get that exact #CCE5FF shade of blue you want or draw every single marking of a complex pattern. Lower your expectations if they’re that high, you’ll enjoy the piece more when you do!

Tip Particularly if you’re commissioning a character with a lot of detail or have very specific requests, leave a tip. Again all it takes is a $5 tip to make a difference!

Advice For Artists If you’re truly looking to get into this industry or have been in it for a while, here are some tips that can (hopefully) help make your job a little easier or get started. I don’t want to discourage people from this job by any means! We wouldn’t have the community we do without freelance artists. NEW ARTISTS

Start Small If you’re just starting out you’ll want to aim for the $10 - $50 price range with marketable pieces such as icons or chibis. You may have to heavily undersell yourself for a while to grow a client base. If you don’t sell anything at first don’t be discouraged! It’s perfectly normal to struggle for a while (even years) before you have anything steady.

Experiment Now is the perfect time to experiment and see what works and what doesn’t, what you like and what you hate. Try different platforms, different commission types and styles, whatever you fancy! The goal is to find a niche you can wedge yourself into, feel happy with, and work towards; not to fish around for immediate results.

Focus On Studying The more experience and tools in your belt, the better. For the first while you should be focusing on improving your art if you’re not at an intermediate level. Once hands don’t feel like such a struggle you know you’re at the right place! This will set you up to be more efficient and feel less frustrated down the road.

EXPERIENCED ARTISTS

Personal Time For the sake of your mental health you need to set aside time to do personal art, experiment, and relax. This could mean having a consistent day off, finding a new hobby, or making vent art just for yourself. Also, don’t be afraid to post personal art! You should not be apologizing for taking reasonable time to yourself.

Experimental Commissions Allow yourself to open weirder commission types from time to time. Maybe lately you’ve been really into drawing beach scenes, you could open a 2 slot commission that promises summer vibes. These could be filler between your bigger pieces or replace them every now and then depending on what you can get away with. Other examples I’ve seen are selling goretober calendar slots or $10 artistic freedom sketches. Just try to get yourself out of that repetitive loop if you feel like you need to, worse case it doesn’t sell!

It’s Okay To Quit Not all of us have this option given personal circumstances but there is no shame in leaving this career. Doing commissions even as a casual filler can rob you of the passion you once had for your hobby. If you feel genuinely unhappy with this job and come across the opportunity to safely leave, go for it! In my case I’m going from commission work to comic work, something within the same general field that I can do at my own pace.

Afterword Although I tried to cover as much as I could with this, I know not every issue of the relationship between commissioners and artists was addressed. There are artists who take large amounts of money and then ghost their commissioner. There are commissioners who negatively nitpick at every step of the process and leave an artist feeling like a beaten down dog. The furry community is huge with lots of different folks, there will of course be bad eggs that make things harder for both sides.

I simply hope this leaves commissioners with a better understanding of an artist's perspective and gives some well deserved compassion to the creative people that breathe so much life into our community. We as artists should also appreciate the clients that support us with positive enthusiasm. This special relationship doesn’t exist in a lot of places and I hope I've offered something to help furries have a better understanding of one of the biggest aspects of our community.

Written with much love for the wonderful people that have cheered me on over the years and the community that has always shown it's full support toward me.

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