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mostlysignssomeportents · 3 months

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Neither the devil you know nor the devil you don’t

TONIGHT (June 21) I'm doing an ONLINE READING for the LOCUS AWARDS at 16hPT. On SATURDAY (June 22) I'll be in OAKLAND, CA for a panel (13hPT) and a keynote (18hPT) at the LOCUS AWARDS.

Spotify's relationship to artists can be kind of confusing. On the one hand, they pay a laughably low per-stream rate, as in homeopathic residues of a penny. On the other hand, the Big Three labels get a fortune from Spotify. And on the other other hand, it makes sense that rate for a stream heard by one person should be less than the rate for a song broadcast to thousands or millions of listeners.

But the whole thing makes sense once you understand the corporate history of Spotify. There's a whole chapter about this in Rebecca Giblin's and my 2022 book, Chokepoint Capitalism; we even made the audio for it a "Spotify exclusive" (it's the only part of the audiobook you can hear on Spotify, natch):

https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing

Unlike online music predecessors like Napster, Spotify sought licenses from the labels for the music it made available. This gave those labels a lot of power over Spotify, but not all the labels, just three of them. Universal, Warner and Sony, the Big Three, control more than 70% of all music recordings, and more than 60% of all music compositions. These three companies are remarkably inbred. Their execs routine hop from one to the other, and they regularly cross-license samples and other rights to each other.

The Big Three told Spotify that the price of licensing their catalogs would be high. First of all, Spotify had to give significant ownership stakes to all three labels. This put the labels in an unresolvable conflict of interest: as owners of Spotify, it was in their interests for licensing payments for music to be as low as possible. But as labels representing creative workers – musicians – it was in their interests for these payments to be as high as possible.

As it turns out, it wasn't hard to resolve that conflict after all. You see, the money the Big Three got in the form of dividends, stock sales, etc was theirs to spend as they saw fit. They could share some, all, or none of it with musicians. Big the Big Three's contracts with musicians gave those workers a guaranteed share of Spotify's licensing payments.

Accordingly, the Big Three demanded those rock-bottom per-stream rates that Spotify is notorious for. Yeah, it's true that a streaming per-listener payment should be lower than a radio per-play payment (which reaches thousands or millions of listeners), but even accounting for that, the math doesn't add up. Multiply the per-listener stream rate by the number of listeners for, say, a typical satellite radio cast, and Spotify is clearly getting a massive discount relative to other services that didn't make the Big Three into co-owners when they were kicking off.

But there's still something awry: the Big Three take in gigantic fortunes from Spotify in licensing payments. How can the per-stream rate be so low but the licensing payments be so large? And why are artists seeing so little?

Again, it's not hard to understand once you see the structure of Spotify's deal with the Big Three. The Big Three are each guaranteed a monthly minimum payment, irrespective of the number of Spotify streams from their catalog that month. So Sony might be guaranteed, say, $30m a month from Spotify, but the ultra-low per-stream rate Sony insisted on means that all the Sony streams in a typical month add up to $10m. That means that Sony still gets $30m from Spotify, but only $10m is "attributable" to a specific recording artist who can make a claim on it. The rest of the money is Sony's to play with: they can spread it around all their artists, some of their artists, or none of their artists. They can spend it on "artist development" (which might mean sending top execs on luxury junkets to big music festivals). It's theirs. The lower the per-stream rate is, the more of that minimum monthly payment is unattributable, meaning that Sony can line its pockets with it.

But these monthly minimums are just part of the goodies that the Big Three negotiated for themselves when they were designing Spotify. They also get free promo, advertising, and inclusion on Spotify's top playlists. Best (worst!) of all, the Big Three have "most favored nation" status, which means that every other label – the indies that rep the 30% of music not controlled by the Big Three – have to eat shit and take the ultra-low per-stream rate. Only those indies don't get billions in stock, they don't get monthly minimum guarantees, and they have to pay for promo, advertising, and inclusion on hot playlists.

When you understand the business mechanics of Spotify, all the contradictions resolve themselves. It is simultaneously true that Spotify pays a very low per-stream rate, that it pays the Big Three labels gigantic sums every month, and that artists are grotesquely underpaid by this system.

There are many lessons to take from this little scam, but for me, the top takeaway here is that artists are the class enemies of both Big Tech and Big Content. The Napster Wars demanded that artists ally themselves with either the tech sector or the entertainment center, nominating one or the other to be their champion.

But for a creative worker, it doesn't matter who makes a meal out of you, tech or content – all that matters is that you're being devoured.

This brings me to the debate over training AI and copyright. A lot of creative workers are justifiably angry and afraid that the AI companies want to destroy creative jobs. The CTO of Openai literally just said that onstage: "Some creative jobs maybe will go away, but maybe they shouldn’t have been there in the first place":

https://bgr.com/tech/openai-cto-thinks-ai-will-kill-some-jobs-that-shouldnt-have-existed-in-the-first-place/

Many of these workers are accordingly cheering on the entertainment industry's lawsuits over AI training. In these lawsuits, companies like the New York Times and Getty Images claim that the steps associated with training an AI model infringe copyright. This isn't a great copyright theory based on current copyright precedents, and if the suits succeed, they'll narrow fair use in ways that will impact all kinds of socially beneficial activities, like scraping the web to make the Internet Archive's Wayback Machine:

https://pluralistic.net/2024/05/13/spooky-action-at-a-close-up/#invisible-hand

But you can't make an omelet without breaking eggs, right? For some creative workers, legal uncertainty for computational linguists, search engines, and archiving projects are a small price to pay if it means keeping AI from destroying their livelihoods.

Here's the problem: establishing that AI training requires a copyright license will not stop AI from being used to erode the wages and working conditions of creative workers. The companies suing over AI training are also notorious exploiters of creative workers, union-busters and wage-stealers. They don't want to get rid of generative AI, they just want to get paid for the content used to create it. Their use-case for gen AI is the same as Openai's CTO's use-case: get rid of creative jobs and pay less for creative labor.

This isn't hypothetical. Remember last summer's actor strike? The sticking point was that the studios wanted to pay actors a single fee to scan their bodies and faces, and then use those scans instead of hiring those actors, forever, without ever paying them again. Does it matter to an actor whether the AI that replaces you at Warner, Sony, Universal, Disney or Paramount (yes, three of the Big Five studios are also the Big Three labels!) was made by Openai without paying the studios for the training material, or whether Openai paid a license fee that the studios kept?

This is true across the board. The Big Five publishers categorically refuse to include contractual language -romising not to train an LLM with the books they acquire from writers. The game studios require all their voice actors to start every recording session with an on-tape assignment of the training rights to the session:

https://pluralistic.net/2023/02/09/ai-monkeys-paw/#bullied-schoolkids

And now, with total predictability, Universal – the largest music company in the world – has announced that it will start training voice-clones with the music in its catalog:

https://www.rollingstone.com/music/music-news/umg-startsai-voice-clone-partnership-with-soundlabs-1235041808/

This comes hot on the heels of a massive blow-up between Universal and Tiktok, in which Universal professed its outrage that Tiktok was going to train voice-clones with the music Universal licensed to it. In other words: Universal's copyright claims over AI training cash out to this: "If anyone is going to profit from immiserating musicians, it's going to be us, not Tiktok."

I understand why Universal would like this idea. I just don't understand why any musician would root for Universal to defeat Tiktok, or Getty Images to trounce Stable Diffusion. Do you really think that Getty Images likes paying photographers and wants to give them a single penny more than they absolutely have to?

As we learned from George Orwell's avant-garde animated agricultural documentary Animal Farm, the problem isn't who holds the whip, the problem is the whip itself:

The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.

Entertainment execs and tech execs alike are obsessed with AI because they view the future of "content" as fundamentally passive. Here's Ryan Broderick putting it better than I ever could:

At a certain audience size, you just assume those people are locked in and will consume anything you throw at them. Then it just becomes a game of lowering your production costs and increasing your prices to increase your margins. This is why executives love AI and why the average American can’t afford to eat at McDonald’s anymore.

https://www.garbageday.email/p/ceo-passive-content-obsession

Here's a rule of thumb for tech policy prescriptions. Any time you find yourself, as a worker, rooting for the same policy as your boss, you should check and make sure you're on the right side of history. The fact that creative bosses are so obsessed with making copyright cover more kinds of works, restrict more activities, lasting longer and generating higher damages should make creative workers look askance at these proposals.

After 40 years of expanded copyright, we have a creative industry that's larger and more profitable than ever, and yet the share of income going to creative workers has been in steady decline over that entire period. Every year, the share of creative income that creative workers can lay claim to declines, both proportionally and in real terms.

As with the mystery of Spotify's payments, this isn't a mystery at all. You just need to understand that when creators are stuck bargaining with a tiny, powerful cartel of movie, TV, music, publishing, streaming, games or app companies, it doesn't matter how much copyright they have to bargain with. Giving a creative worker more copyright is like giving a bullied schoolkid more lunch-money. There's no amount of money that will satisfy the bullies and leave enough left over for the kid to buy lunch. They just take everything.

Telling creative workers that they can solve their declining wages with more copyright is a denial that creative workers are workers at all. It treats us as entrepreneurial small businesses, LLCs with MFAs negotiating B2B with other companies. That's how we lose.

On the other hand, if we address the problems of AI and labor as workers, and insist on labor rights – like the Writers Guild did when it struck last summer – then we ally ourselves with every other worker whose wages and working conditions are being attacked with AI:

https://pluralistic.net/2023/10/01/how-the-writers-guild-sunk-ais-ship/

Our path to better working conditions lies through organizing and striking, not through helping our bosses sue other giant mulitnational corporations for the right to bleed us out.

The US Copyright Office has repeatedly stated that AI-generated works don't qualify for copyrights, meaning everything AI generated can be freely copied and distributed and the companies that make them can't stop them. This is fantastic news, because the only thing our bosses hate more than paying us is not being able to stop other people from copying the things we make for them. We should be shouting this from the rooftops, not demanding more copyright for AI.

Here's a thing: FTC chair Lina Khan recently told an audience that she was thinking of using her Section 5 powers (to regulate "unfair and deceptive" conduct) to go after AI training:

https://www.youtube.com/watch?v=3mh8Z5pcJpg

Khan has already used these Section 5 powers to secure labor rights, for example, by banning noncompetes:

https://pluralistic.net/2024/04/25/capri-v-tapestry/#aiming-at-dollars-not-men

Creative workers should be banding together with other labor advocates to propose ways for the FTC to prevent all AI-based labor exploitation, like the "reverse-centaur" arrangement in which a human serves as an AI's body, working at breakneck pace until they are psychologically and physically ruined:

https://pluralistic.net/2022/04/17/revenge-of-the-chickenized-reverse-centaurs/

As workers standing with other workers, we can demand the things that help us, even (especially) when that means less for our bosses. On the other hand, if we confine ourselves to backing our bosses' plays, we only stand to gain whatever crumbs they choose to drop at their feet for us.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/21/off-the-menu/#universally-loathed

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

#pluralistic #openai #ai #llms #gai #generative ai #models #music #umg #universal music group #spotify #tiktok #creative labor markets #chokepoint capitalism.#copyfight

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leatherdyketerror · 3 months

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PLEASE HELP A TRANS PERSON FROM POLAND GET EXPENSIVE SURGERY

hello, my name is irys (or rysiu if you prefer), i'm a trans person from poland, the country that consistently ranks as the worst one for lgbt people in the eu. it's also the only country in the world where as an adult you have to file a civil lawsuit against both of your parents and win in order to get your legal gender marker changed.

TL;DR - i'm in a life situation where i cannot get money for top surgery anywhere but through fundraising, while my chest prevents me from passing as well as causes physical discomfort due to its size, and i'm unable to mitigate it though binding due to health issues. being 8 months on HRT i'm in a gender middle ground which in this country and my area specifically, puts me at high risk of violence and harassment, especially in bathrooms and changing rooms. having raised funds for 5 months now, the crowdfunding campaign has been going on for way longer than expected, taking a toll on my mental health.

unfortunately, i have barely managed to raise 1/3rd of the total money i need. since my last e-begging post, i managed to only get 40PLN (<10USD).

currently, i have barely 7 000 PLN (~1730 USD) out of the full amount i need to raise, being 21 000 PLN (~5155 USD) total. that includes the cost of accomodation, wound dressings, medication etc. out of that, 17 700 PLN (~4345 USD) goes towards the surgery itself and one mandatory night at the hospital.

‼️FUNDRAISER:

the site includes a full breakdown of the costs as well as a detailed overview of my situation, not limited to but including 4 years of forced detransition, details of my health issues, and why i can't get money any other way but through fundraising, why i can't bind nor use any alternative methods, and other fun facts about my life. i'm not going to mince words, and i'll say that this situation in itself, outside of the many other stressors i'm under, is making me lowkey not want to live anymore. i really just want to get this over with, after so many years of struggling and humiliation. please.

‼️zrzutka.pl takes secure international payments without fees!!! USamericans, your donations have four times the impact due to currency conversion! if you still don't want to use zrzutka, you can use the blue online payment website to directly send me money instead!

(please don't tag the post as anything)

#irys.txt #mutual aid #fundraising #fundraiser #transgender #trans #transmasc

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devsgames · 5 months

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HOT GAMEDEVS DON'T GATEKEEP

Inspired by this post by @midwinterhunt, here's a compilation of all the game dev resources I have come across, most of which I use fairly frequently. Most of these are free, some are paid but fairly cheap. Feel free to add your own resources. ✌️

Important reminder: When using basically any works or programs someone else created in your games, make sure you thoroughly understand the licenses and terms it has been shared with. If you don't know what the terms are, reach out to the resource and ask. Don't be lazy about this; it's not only dishonest but it can come back to bite you.

Engines

Unity - Best suited for mobile and multi-platform.

Unreal - Tailored for shooters and high-fidelity experiences.

PICO-8 - Virtual console for simple games

Godot - Open source and free!

GameMaker - Good for 2D games

Bitsy - Great little engine for making simple games and experiences

Construct - Never used but have heard nice things

Scratch - If you've never coded before, this is the best place to start. Great for young devs and those who want to get their feet wet.

Adventure Game Studio - Best suited for adventure games

RPG Maker - Best suited for top-down classic JRPG style games

Twine - Text-centric games like Interactive Fiction

Assets

OpenGameArt - Many assets, various licenses, and plenty of CC0 content.

Unity Store - For Unity only. Some free.

Unreal Store - For Unreal only. Some free.

Godot Asset Library

Jean Moreno's Toon Effects - Some of the best effects available on the Unity store. Unity only but I've used them in basically every project.

Steamworks.net C# Wrapper For Unity - Unity only C# wrapper for integrating Steam compatibility to your game

Itch.io - Plenty of free art assets and game dev resources

Kenney - Kenney makes tons of open-source assets for devs to use.

Art

Mixamo - Generates rigs for your humanoid models and lets you apply a library of free humanoid animations to them. Super helpful for prototyping. Adobe.

Blender - Free, open source and fully featured 3D program.

XNormal - Free offline normal map generator

Normal Map Online - Free online normal map generator

Crocotile - Cheap tool for building 3D models from sprite sheets

MagicaVoxel - Free voxel modelling tool

Piskel - Free online sprite drawing tool

Aesprite - Paid sprite drawing tool

TurboSquid - Not always great quality, but can be good source of free placeholders.

Textures.com - Limited texture downloads per day but free for personal use.

Pexels - Free stock photo resource. Most are free for commercial use. Check licenses.

Clipstudio - Good for illustration or graphic design. One time payment.

GIMP - Image editing program a-la Photoshop. Free.

Audio

Audacity - Free and fully-featured DAW/audio editor.

sfx.me - Free 8-bit synth-style sound effect generator for games.

CastingCallClub - Easy forum to find amateur voice talent for your project (p.s.: you should pay them).

FreeSound.org - Free sounds, searchable by license. A go-to for my audio needs.

Incompetech - Royalty-free music by Kevin McLeod.

Scott Buckley Music - Royalty free with conditions. Generally more on the cinematic side of things but very good stuff!

SoundCloud - 'Search -> By Track -> Filter: Use Commercially' leads to songs posted with allowance of commercial use. Always reach out to the artist to understand their terms and confirm that it's okay to use with your project.

Project Planning

Keymailer - Handy for mailing keys to influencers (don't expect a lot of traction unless you're paying for some of the features though).

Trello - Kanban board. Great for organizing tasks, managing bugs, etc. Free.

Notion - Private text and wiki page editor. Good for project organization, note taking, and fleshing out ideas. Free.

Obsidian - Alternative to Notion, with similar features.

Miro - Free whiteboard for organizing thoughts, images, brainstorming, etc.

Wave - Free Bookkeeping site. Great for keeping finances organized.

#gamedev #game development #game dev #indie games #indie game #gamedevelopment #indiegames #indiedev #indie dev #game developer #resources #blog

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staff · 1 year

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Tumblr Domains: That thing you do in the place they already know

Hello, [tumblr]. Look at you all here vibing. Some of you are out here providing essential services, like making art—and people happy in the process. Maybe you’re creating pfps for your followers. Or painting people’s OCs in intricate and enlightening detail. Or taking beautiful pictures of mushrooms. Or sharing your homestead life with the world. Or coming up with entire ARG universes for your followers to immerse themselves in. Maybe you’re making memes for that one show that existed for fifteen seasons and stopped airing years ago. Perhaps you’re simply fulfilling the age-old societal need of staying silly :3. Whatever it is you come here to do, why not make it official and claim your domain?

Having a domain can add a little professional gleam to your online presence. It can be a funny little joke from you to you. It can also add an extra layer of this-is-what-this-is to your online persona.

blog.tumblr.com will remain free for everyone.

Here’s how you get your very own slice of the internet, right here on Tumblr:

Click on your account icon and select “Domains” from the drop-down.

If you already have a custom domain purchased elsewhere, it’ll continue to work for now, but you will no longer be able to connect a new custom domain bought elsewhere to your blog.

Eventually, we will implement domain transfers (outbound and inbound) and paid domain connection.

And, to celebrate this historic moment, we’ve got a little offer for those interested in a .blog domain:

First year (through to July 31): $3.00

First year (from August 1 – December 31): $5.00

Annual Renewal: $10.00

Curious about other available domains? Check 'em out here. More questions? The Support page has all the details!

Make it official, merge your online homes, and bring your Tumblr family along for the ride.

#features #tumblr domains

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gabrielleragusi · 23 hours

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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

#art #artists on tumblr #Article #For Artists: My Experience with Commission Platforms and Illustration Agencies #Commissions #Illustration #Design #freelancer #gabrielle ragusi

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jasminekge · 2 years

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redroomreflections · 19 days

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Just A Check In

Natasha Romanoff xfem!reader

The Loud House universe - available on a03

Summary: R and Nat talk about divorce and what their lives look like now

note: Idk what this is fr I just wanted to write it

This is about 3 years in the future from the actual timeline.

The kitchen is quiet, a gentle hum of the refrigerator and the occasional clink of dishes in the sink are the only sounds breaking the peace. You and Natasha are in one of those rare moments of solitude, settled into your domestic routine.

You sit on the kitchen counter, your legs dangling over the edge, a pile of mail spread out before you. You sift through it with a relaxed focus, your eyes skimming the envelopes and papers, while Natasha, leaning against the counter with a mug of tea in hand, vents her frustrations.

“Charlie was just—” Natasha begins, her voice a mix of exasperation and disbelief. “She gave me such attitude this week. I thought that was something we’d have to deal with when she’s a teenager, not now.”

You nod and hum your agreement, sorting the pile of letters into bills, junk, and others. The first pile is already quite large and will be a pain in the ass to sort through. You mentally remind yourself to look over the online bill payment settings again, as you have for the past month or so, to see if there are any new updates or if anything is still glitch.

As Natasha continues to recount Charlie’s most recent bout of rebellion, you can't help but grin, knowing exactly how your wife feels.

"She is a preteen. 11 years old is a pretty big deal," You offer her. You look up, catching Natasha’s gaze with a knowing smile. “You mean you don't like the whole ‘don’t tell me what to do’ thing?”

"I definitely don't," Natasha groaned. "It's almost like everything I say goes in one ear and out the other. And the whole smart mouth thing..."

"Well, when she was younger you told me not to scold her on it," You shrugged. "Remember when there was a time I was the one that was too strict."

"Yeah, yeah, but this is different. She's starting to get mouthy with me, and it's not cute anymore."

"I know, babe."

Natasha huffed and leaned forward, placing her mug down next to you. "I want to ground her for life."

You barked out a laugh, reaching a hand forward to squeeze Natasha's shoulder. "Babe, no."

"She's lucky she's cute," Natasha muttered, turning back to grab her tea. "Even though it's wearing off."

You smiled and shook your head, turning back to the mail.

"Speaking of teenagers, what happened with Cara? She's been out a bit late these days." Natasha asked.

"She's eighteen," You remind her. "She has her own curfew. We don't have to worry about her as much. Taking a year off to figure out what she wants to do with school hasn't been easy on her."

"Yeah, you're right," Natasha sighed.

She was quiet for a moment, and you heard the gentle scrape of the wooden spoon against the ceramic mug as she stirred her tea.

"So... I guess what I'm saying is I don't like having to parent my daughter," Natasha finally spoke up. "And I'm tired of Charlie and her attitude. It's getting exhausting."

"Oh, really?" You replied, looking up. You caught her gaze and grinned, tilting your head to the side. "What about your wife? You can't handle her either?"

Natasha chuckled. "Oh, I can definitely handle my wife."

"Yeah, well, that's good, " You looked into her eyes. "Charlie will get better. Give her time and talk to her more. Let her know you're there."

"Why doesn't she hate you?"

"I'm the cool mom," You shrugged. "It's practically a crime. Plus, Cara took me through the ringer so I guess it's high time you receive that."

Natasha pouted. "Not fair."

"It is," You chuckled. "But seriously, it'll all get better. Kids go through changes. We can't expect her to stay the same sweet little girl forever. But the good news is, when we get to the worst of it, we can always give her to my mom."

Natasha let out a chuckle and nodded. "Alright, I'll hold you to that."

You smiled and turned back to the mail. After a moment, Natasha began to stir her tea once more. You check your phone, deciding to check your messages when you find one from Denise. One of your mutual friends from college is divorcing her husband.

"Oooh, Denise says Jude and Nadine are getting divorced," You say, looking up.

Natasha raises a brow. "Oh? Why?"

"Apparently he was sleeping with her friend," You replied, reading the message. "Oh, wait, I forgot to tell you."

"About?"

"The friend's pregnant."

"Really?"

"Yeah, I'll show you the messages," You said, putting the phone down. "That's insane to me. They've been married just as long as you and I have."

Natasha scoffed. "People can have a long marriage and still cheat."

"True," You agreed. "But they were really happy. I thought they were going to last forever."

"Well, not everybody gets lucky," Natasha said.

"That scares me a little," You admit. "I know we're solid but..."

"But?"

"Well, a lot of my friends are starting to split, and... it's weird," You said. "I mean, you remember our first few years. We didn't have the best luck either. Now, we're deeper into it. It's so much easier to get into a routine. We are just as busy if not busier than when we moved into the house. The kids take up most of our time. We don't even have sex like we used to. We're almost on a schedule these days and..."

"And?"

"We can't be that couple," You sighed.

Natasha smiled and leaned in, her lips ghosting over yours. "We are not like that."

You raised a brow. "Are you sure? Because the last time we were really spontaneous was... actually I can't think of a time."

"It's not a big deal, right? As long as we make time for us." Natasha paused. "You're really afraid? Did that message prompt this or was this something you've been thinking of a long time?"

You bit your lip, shrugging. "I'm not sure. I guess it's been building up."

Natasha leaned forward, her fingers brushing the strands of hair out of your face. She pressed her lips against yours, her hand falling to your neck. You closed your eyes, your hands finding her waist.

Natasha's kisses grew in intensity, her tongue sliding into your mouth. Your breath caught in your throat, and you found yourself moaning against her lips.

"Fuck, Nat," You groaned.

Natasha chuckled, pulling back. She placed a few chaste kisses against your lips, then pulled back completely, a satisfied grin on her face.

"Better?" She asked.

"Hmm," You nodded, smiling. "Yes, but I don't know if that eases my worries."

"We are fine," Natasha promised. "I'm glad you're telling me this right now. If it's something you're worried about we can work on it. My parents don't plan on moving out anytime soon. Trust me I've asked. Maybe we can utilize them a bit more." She rested her hand on your bare thigh. "We're just as solid as when we first started. Even more so. We are not the same people we were fifteen years ago. I promise, baby. We are not like them."

You smile, the warmth of her words and touch seeping into your body. "I'm sorry for bringing it up."

"No, you're not. It's okay," Natasha chuckled. "I'm not angry or upset. I want us to have these talks and check in with each other. As for the sex, when we do have sex, I'm just as satisfied now than back then."

"I can't believe you just used that term," You laughed. "Back then."

"It's true," Natasha argued. "Do you feel the same?"

You nod, a grin forming on your face. "I think my libido has grown as I've gotten older. As if that's even possible."

"What I'm hearing is I'm not taking care of you," Natasha moved to stand between your legs. She placed her hand on your knee, rubbing gentle circles against the skin.

"That's not what I meant," You insisted.

"Sure it's not," Natasha grinned. "Maybe I need to remind you just how good I can make you feel."

"Yeah?" You smirked, your arms wrapping around her neck. "Prove it."

"With pleasure."

Natasha pressed her lips against yours once more, her hands sliding up and down your thighs. She squeezed and massaged the skin, her lips molding with yours.

Your hands slid down her back, resting at the hem of her shirt. You pulled her closer, your tongues meeting in a passionate embrace.

Natasha pulled back, a low groan rumbling from her chest. "Fuck."

"What?"

"Luke."

"What?"

Natasha stepped back, holding a finger to her lips so you could be quiet. Sure enough, you heard the heavy footsteps of your four-and-a-half-year-old along with the scraping of dog nails. Luke walked into the kitchen sleepily, his hands holding gently to Midnight's fur, as he looked between the two of you.

"Can I have a drink?" He asked.

"Of course, sweetie," You answered.

"Do you want some juice?" Natasha asked.

Luke nodded, his eyes drifting shut. "Apple please."

"Okay, sit down, and I'll get you a glass," Natasha said, moving to grab the juice out of the fridge.

Luke stumbled to the table, and Midnight followed, plopping down beside him.

"We will finish this I promise," Natasha leaned over to quickly peck your lips.

You grinned, nodding. "I'll hold you to it."

#natasha romanoff #black reader #natasha x reader #black widow x reader #black widow x female reader #natasha romanov #natasha x you #i miss them

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