#and get writing examples for commissions

[jpivot]

do u ever take commissions?? i’m just rly obsessed with your deadlock art especially lash 😭💙

theoretically yes but practically no, lol... ive been entertaining the idea of "opening commissions" for years but the planets rarely align for me to do so*.

i also have that disease where i can only do 0% or 120% amounts of effort, with no inbetween. the former is not worth it for customers and the latter is not worth it for me. alas

*tbh i guess you could just ask and we can work something out. the last time i did a commission someone asked me about it and then waited a whole year for me to finally have a window of time appear to work on it. so. thats the type of inconvenient geological time scale i function on

[phightingconfessions]

Biograft is the only closest thing to ai i will ever support

tbf theres a difference in the kind of ai biograft is and generative ai

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[renthony]

In Defense of Shitty Queer Art

Queer art has a long history of being censored and sidelined. In 1895, Oscar Wilde’s novel The Picture of Dorian Gray was used as evidence in the author’s sodomy trials. From the 1930s to the 1960s, the American Hays Code prohibited depictions of queerness in film, defining it as “sex perversion.” In 2020, the book Steven Universe: End of an Era by Chris McDonnell confirmed that Rebecca Sugar’s insistence on including a sapphic wedding in the show is what triggered its cancellation by Cartoon Network. According to the American Library Association, of the top ten most challenged books in 2023, seven were targeted for their queer content. Across time, place, and medium, queer art has been ruthlessly targeted by censors and protesters, and at times it seems there might be no end in sight.

So why, then, are queer spaces so viciously critical of queer art?

Name any piece of moderately-well-known queer media, and you can find immense, vitriolic discourse surrounding it. Audiences debate whether queer media is good representation, bad representation, or whether it’s otherwise too problematic to engage with. Artists are picked apart under a microscope to make sure their morals are pure enough and their identities queer enough. Every minor fault—real or perceived—is compiled in discourse dossiers and spread around online. Lines are drawn, and callout posts are made against those who get too close to “problematic art.”

Modern examples abound, such as the TV show Steven Universe, the video game Dream Daddy, or the webcomic Boyfriends, but it’s far from a new phenomenon. In his book Hi Honey, I’m Homo!, queer pop culture analyst Matt Baume writes about an example from the 1970s, where the ABC sitcom titled Soap was protested by homophobes and queer audiences alike—before a single episode of the show ever aired. Audiences didn’t wait to actually watch the show before passing judgment and writing protest letters.

After so many years starved for positive representation, it’s understandable for queer audiences to crave depictions where we’re treated well. It’s exhausting to only ever see the same tired gay tropes and subtext, and queer audiences deserve more. Yet the way to more, better, varied representation is not to insist on perfection. The pursuit of perfection is poison in art, and it’s no different when that art happens to be queer.

When the pool of queer art is so limited, it feels horrible when a piece of queer art doesn’t live up to expectations. Even if the representation is technically good, it’s disappointing to get excited for a queer story only for that story to underwhelm and frustrate you.

But the world needs that disappointing art. It needs mediocre art. It even needs the bad art. The world needs to reach a point where queer artists can fearlessly make a mess, because if queer artists can only strive for perfection, the less art they can make. They may eventually produce a masterpiece, but a single masterpiece is still a drop in the bucket compared to the oceans of censorship. The only way to drown out bigotry and offensive stereotypes created by bigots is to allow queer artists the ability to experiment, learn through making mistakes, and represent their queer truth even if it clashes with someone else’s.

If queer artists aren’t allowed to make garbage, we can never make those masterpieces everyone craves. If queer artists are terrified at all times that their art will be targeted both by bigots and their own queer communities, queer art cannot thrive.

Let queer artists make shitty art. Let allies to queer people try their hand at representation, even if they miss the mark. Let queer art be messy, and let the artists screw up without fear of overblown retribution.

It’s the only way we’ll ever get more queer art.

_

Like this essay? Tip me on Ko-Fi, pledge to my Patreon, or commission an essay on the topic of your choice!

[lazyleafeon]

[image description: Text says: commissions for Palestine. there is an image of the artist on their drawing tablet. all commission information shows art examples.

Commission info text says: $1-$7 Lined Chibi. $1 lines, $5 monochrome rendering, $7 full color rendering.

$15 lined fullbody. +$7 for full color. +half price per extra character (up to 3 characters total).

Comics. Sketch comics: $25 full page. $12 half page. Up to 4 pages. Fully lined: $50 for full page. $25 for half. Up to 3 pages.

will draw: furries, mecha, OCs. won't draw: nsfw, real people without permissionwill draw: furries, mecha, OCs. won't draw: nsfw, real people without permission. End ID]

I'm reopening commissions for Palestine. I will draw you something if you donate to any of these (note that gofundmes require you to donate at least 5 of whichever currency the fund is using):

The Gofundme's and other fundraisers on this masterlist

Helpgazachildren's Gofundme

Esims for Gaza (or this crowdfund to donate money for esims)

The Municipality of Gaza's life for Gaza campaign

Any of the fundraisers I've reblogged on this account

I'll also draw you something if you donate to other verified fundraisers for Palestine or funds for people on the ground, or to verified fundraisers for Sudan or Congo.

guidelines/other info:

personal use only

Turnaround of around 1 month for chibis, 2 months for fullbodies, and 4-6 months for comics. I will update you as soon as I have a sketch or if there are any delays.

Please include a visual reference or text description of the character(s) you want drawn. If you don't i'll go off of google or my own design for them

For comics I can work with prose or a script. if i know the characters i can try writing a script myself based on a prompt, though it will take me longer

I reserve the right to refuse a commission and may ask you to choose something else.

To get a commission, DM me on this account or email me at desklamprey @ gmail.com with a receipt of your donation made after this post was made (8/11/24 at 9:30 PST), a link to where you donated if its not from the 4 i listed above, and the details about your request.

[femboty2k]

The Great Trans Girl Exodus Commission Post

Hello once again! To make a long story short: My darling wife and I are trying very hard to be able to move from Texas to Colorado ahead of how bad legislature is getting here. We have savings and a plan but its shaping up to be a very expensive and stressful finding a place to actually move in to. Our lease here is up at the end of June so we're starting to really crack down on trying to find places to apply to. I'm making this post because we would really appreciate some extra funds to add to what we have saved to make this move possible and if its an option: comfortable. We're a pair of trans lesbians trying so very very hard to make a life for ourselves in this country that hates us. Below I've attached some basic pricing and examples of the type of pixel art I do as well as some of my writing as I'm A-Okay writing for other folks if you like my prose or brand of article jank. If you have any questions about anything here please feel free to send me a DM on here and we can talk more about what you want and what I can do for you. Thank you so much if you end up commissioning anything or even if you just share this post. Examples and pricing below the cut:

Y2K Stylized Piece: $50+ (Price can range based on piece complexity desired)

Flat colour piece w. basic detailing: $60+ (Price can range based on number of characters desired and background complexity, basic BG is included in piece)

Detailed/Low-Poly Style piece: $75+ (These ones take the longest due to the by-hand editing needed to ensure the style is cohesive or detailing is done on the whole piece. Price can range based on complexity desired.)

Pixel Chibi: $20 (Pixel Chibi pricing is locked at $20)

Emote Suite: $35 (Price covers up to 9 custom emotes sized for usage in Discord and other messaging use cases)

Doodle: $25 (A flat simple piece with a simple concept done on a small canvas)

WRITING EXAMPLES:

Fiction: Tactile Sensations, a Sci-Fi short story Article Writing: Bloodborne PXS: One of the best fanworks on the web Writing prices start at $30 and can fluctuate upwards based on piece length. Thank you so much for checking out my work and/or sharing it. We're trying to start a new life for ourselves in a safer place, and we really do appreciate any help. Thank you!

[3hks]

Substitutes For "Dead Parents"

Okay you guys! I mentioned this in a past post, but when it comes to family, some of ya'll are just... not creative. And don't get me wrong, having deceased parents is deep, dark, and hard, but at this point, a lot of readers simply overlook that because it's just that common. Not to mention, a lot of you guys aren't doing nearly enough with that information! So, for this post, I'll give some new examples relating to "family struggles!"

>> Neglect: Neglectful parents often don't give their child enough attention, time, or care. They don't always hate their kid; quite the opposite, really, they can still love their offspring and are simply unaware that they are being neglectful. This happens for a multitude of reasons: all their attention is focused on a different child, they're busy, or they're just uninterested in their kid's activities.

>> Abuse: Abuse is rather straightforward; it can be physical, mental, or even both. Even if it's only physical abuse, it can heavily damage the child's mental health and make them question their self-worth.

>> Fighting: I think that a lot of us have endured our parents fighting, and I'm fully confident that none of us enjoyed it. It's incredibly difficult for a kid to listen to their parents fight without knowing how to stop it, being stuck in the middle, and even worse, being the center of the argument. As it escalates, the child may even feel neglected, because their parents are only focused on each other.

>> Absence: Like neglect, these parents don't devote nearly enough attention and time to their child. However, this is because they are hardly present in the household to begin with. Normally, it's their career that keeps them away, leaving their kid to raise themselves.

>> Controlling: Oftentimes, controlling parents are found in, believe it or not, more successful households. Kids who have parents that own a successful business or are powerful in general are sometimes raised to follow those footsteps regardless if they want to or not. If they don't want to, as a result, they are kept on a tight leash. Controlling parents can also be found in stricter households.

>> Toxicity: Toxicity, a form of emotional abuse, can come in many forms, gaslighting, demeaning words, constant criticism, comparison, etc. Frequently, the child is unaware that their parents are being toxic until a third party points it out to them. This is because they've only known their parents acting in toxic manners; thus, it becomes their norm. However, it's also entirely possible for the parent to be oblivious to the fact that they're being toxic.

>> Distant: Being distant doesn't always have to be because of some crazy reason; they might've been a very happy and close family once, but as time passes on, they just simply start drifting in their separate ways. It's not the same as neglect or an absence; the child is usually able to adjust to it easier, and it might've even been their choice to be distanced from their parents.

>> Child Responsibility: This is a scenario where the kid acts more like a parental figure--they have to take care of both themselves and their family. In some situations, they also have to work in order to supply their family with enough money to be able to pay for life necessities. This normally happens when a/the parent(s) are out of commission and struggle to provide for their family. If the household is poor, the child might be working alongside their parents in an attempt to make their lives easier.

Did I miss anything? Let me know what you guys think about these substitutes!

Happy writing~

3hks :D

[jonnywaistcoat]

Hey, Horrormaster Sims. I have a wildly different question that barely relates to TMA (Sorry about that) but its about your own process. Please, if you could, can you tell me how your first drafts made you feel? I'm on the fence about writing my own thing (not a podcast, and again, not Magnus related, though I have a million little aus for that delightful tragedy you wrote, thank you for that!) But I'm discouraged by the collective notion that first drafts are always terrible, because there's no ... examples I can solidly use to help the dumb anxiety beast in my brain that tells me everyone who is in any way popular popped out a golden turd and not, well, you know. One of my friends said 'Oh I bet Jonathan Sims's first draft was nothing like what he wanted' and I got the bright idea to just. Send you an ask, since you're trapped on this hellsite like I am. Anyway, thanks for reading this (if you do) and if you'd rather ask it privately, I am cool with that. Alternatively, you're a hella busy man with Protocol (you and Alex are making me rabid, i hope you know) and you can just ignore this! Cheers, man, and good words.

To my mind all writing advice, especially stuff that's dispensed as truisms (like "first drafts are always garbage") are only useful inasmuch as such advice prompts you to pay attention to how you write best: what helps your workflow, what inspires you, what keeps you going through the rough bits. There are as many different ways to write (and write well) as there are people who write and so always consider this sort of thing a jumping off point to try out or keep in mind as you gradually figure out your own ways of writing.

On first drafts specifically, I think the wisdom "all first drafts are bad" is a bit of unhelpful oversimplification of the fact that, deadlines notwithstanding, no piece of writing goes out until you decide its ready, so don't get too hung up on your first draft of a thing, because a lot of writers find it much easier to edit a complete work than to try and redraft as they go. It's also important to not let perfectionism or the fact your initial draft isn't coming out exactly how you want stop you from actually finishing the thing, as it's always better to have something decent and done than to have something perfect and abandoned.

But the idea of a "first draft" is also kind of a fluid one. The "first draft" you submit to someone who's commissioned you will probably be one you've already done a bunch of tweaks and edits to, as opposed to the "first draft" you pump out in a frenzy in an over-caffeinated weekend. For my part, my first drafts tend to end up a bit more polished than most, because I'm in the habit of reading my sentences out loud as I write them (a habit picked up from years of audio writing) so I'll often write and re-write a particular sentence or paragraph a few times to get the rhythm right before moving to the next one. This means my first drafts tend to take longer, but are a bit less messy. I'm also a big-time planner and pretty good at sticking to the structures I lay out so, again, tend to front load a lot of stuff so I get a better but slower first draft.

At the end of the day, though, the important thing is to get in your head about it in a good way (How do I write best? what helps me make writing I enjoy and value? What keeps me motivated?) and not in a bad way (What if it's not good enough? What if everyone hates it? What if it doesn't make sense?) so that you actually get it done.

As for how my first drafts made me feel? Terrible, every one of 'em No idea if that's reflective of their quality, though, tbh - I hate reading my own writing until I've had a chance to forget it's mine (I can only ever see the flaws). I suppose there's theoretically a none-zero chance they were pure fragments of True Art and creative perfection, but Alex's editing notes make that seem unlikely.

[leidensygdom]

Commission scams: A guide on how to avoid them and find legit artists

Hello! I am writing this guide in order to hopefully help people spot scammers and art thieves, to teach people how to deal with them and to give people ways to actually get real artists for commission work.

For those who do not know, there is a recurring, extremely widespread type of scam where someone will advertise their commissions using stolen artwork, or (sometimes) traced or AI-generated pictures. This started (as far as I know) on Twitter, but it is currently in all sorts of social media (I have found them in Twitter, Instagram, Bluesky and Tumblr) and also on Discord servers, often large Discord servers requiring no invites or that are easy to find through Discord advertisement places.

These do obviously hurt both, the people seeking to buy a commission (who will either get their money stolen, or given a product that is not of the quality that was advertised), and the artists whose work is being stolen, who are not getting the work themselves. It is important for people to learn how to identify these people, and to quickly take action when possible. This post is kind of lengthy, so please press the Keep reading button below for the full guide! (And please do share this post around if possible- This is a very common scam and I have met far too many people who have fallen to it or have got their art stolen due to it, including friends and myself.)

So, how do they work? (in Social media)

In my experience, a lot of these scammers either run multiple accounts or are part of a larger scheme, operating in organized groups that follow similar tactics. They will very often use automated means to advertise en masse. Those in social media will make accounts that post some example artwork, often with a myriad of tags, in styles that do not match (see first example, featuring my stolen art :'')). They very rarely post anything that isn't stolen artwork, or have any actual real following they interact with properly. They will then very often spam heavily through replies (such as it happens in Twitter), posting hundreds of really similar messages in a short period of time. In the second example, you can see an account from one of these scammers that is using automated posts to garner attention, which are shared by similar accounts (notice the same exact wording between the first and third post). The third example (in the Replies tab) shows how one of this accounts replies "Hi" to every single message they get.

They will often seek posts from people who are searching for commissions, answering them (often with a "I do commissions, DM me") or other variants of that. (They often only share their "art" on DMs to not be caught stealing by the original authors.) You can see an example of that on the first screenshot below. On Twitter, Instagram and pretty much any place where you can DM people, they may also come to your DMs, often starting with a "Hello" or something so you answer to them, and then they will suddenly share their commission information (as seen in the second picture).

In any case, they rarely have publicly available commission sheets, and will only disclose their prices on DMs. They may share more stolen artwork in there. From there on, they will often speak in fairly broken English, and try to lead you to commission them. They will haggle the prices if they can- But they tend to be fairly steep, with them going up to $300 a fullbody, which tends to be unusual in people without a fairly established following or popularity.

They will often give you a payment method that does not allow for refunds- Such as sending the money to "Friends and Family" in Paypal. This is actually illegal for commercial work, so if you get an artist telling you to pay them through such a method, please do be incredibly wary: Professionals will use methods that do have an option for refunds.

2. How do they work? (on Discord)

On Discord, they will often enter in servers where there may be a place for them to advertise, or servers available through Disboard and other Discord-community searchable sites. Then, they will often not interact at all with the community itself, but they will jump to advertising channels and post about "seeking for work". I have found out that scammers operating on Discord do only very rarely also have socials, so look out for that. Do reverse searches if you can. Legit artists don't tend to join Discords solely to advertise, so look up "from: [name]" on Discord and check how they have interacted in the server, if they have done that in any way. See the first and second example for an example on how they behave. First example has art from @ydteus (in the second message, the dragonborn's source is unknown.) Second example is from one of these accounts who entered on a Streamers' Discord. Streamers and VTubers are very popular targets for these scammers. Third example (with art from absent_lambeth on instagram, and unknown for the second picture) shows another important point, which I'll explain below.

Many of these scammers do not have solid commission sheets showing examples and prices for them. The third one even mentions "it is under construction", fully knowing a commission sheet is expected. Not every professional artist has them, but most do. It is often expected that people who do commissions will have some sort of Terms of Service at the very least, even if they do not have a commission sheet.

3. What do they do?

They scam you. You may never get any art from them. You may get traced art, or art that is not of the quality they advertised, because the art they used for promotion wasn't theirs on the first place. Or you may get an AI-generated picture, too. In either way: You will find yourself with +$200 less in your pocket and no way to seek a refund. So, it's very important you know how to spot them BEFORE they scam you. I have known people who have lost their money

4. How do I actually spot them?

Simply put, they do not act like normal artists would. Let's make a handy list of suspicious behaviours to look for, though.

Most people who draw commissions won't directly DM you unprompted to ask you to pay them for work. If you get such a DM- Report as spam and block.

Most of them don't act like bots, either. If you're on Twitter or similar pages, seek for extremely repetitive posts, hundreds of Replies in their Replies tab that are copypasted or very similar. If you see that, report as spam and block.

Reverse search is sadly very unreliable nowadays, but it does not hurt to try. A lot of them will modify the picture so it doesn't show in reverse search, but try it- And seek if it links to a different account with a different name.

As an ESL, I hate to say this, but the grand majority of them have really broken English, so look out for that. Not every person with broken English is a scammer, but it is something common amidst them. You will notice they fail to communicate general information. Try to ask them for Terms of Service, for example: They will probably be unable to provide you anything (if they do even understand you.)

You will rarely find them on your own unless you frequent specific tags, such as "commission" or "openforcommission". Or even using completely unrelated tags in their posts. I found one of them using a tag about someone's death to cop violence on their anime art. These people mostly only interact with their fellow scammers, but not with artists you'd find through other means.

As mentioned above, they won't provide you a payment method that allows for refunds the grand majority of the time. If someone tells you to send them money "as friends and family" in Paypal, or through something life Ko-fi's donations (although this one is rare), do not pay them. This is a general advice: Do not use payment methods that do not allow refunds for people you don't know.

Ask them for a commission sheet, a webpage, their Terms of Service and other things. Professionals should be able to provide at least one of these, usually.

5. What do I do if I find out they have stolen art/if my art has been stolen?

If you have found stolen art, let the original artist known ASAP if you can find them. Ask for help from friends if you cannot find them.

If you're the artist, DMCA claim. Every page has it, it is required for them to have it. If you search "dmca form (and the website's name)", it should show up. Bsky only has it in mail form right now, but it's there. A DMCA claim is a Copyright claim, and as long as you can show that you posted your picture somewhere before they did, you can do it. The form may seem scary, but it is not all that much. They will ask for your legal full name, address, a mail + a telephone, the url of the post stealing your art, an url to where you posted it first, and to sign/agree to some terms. DMCA claims tend to be processed swiftly (in about a day) because websites can get in trouble if they allow for copyrighted content to be stolen. And you actually do have rights to any picture you have created without needing to trademark it or anything.

You may also want to ask your friends to help you report the account and/or posts. Often, reporting it for spam will give you the best results. DMCA claims will take down the offending posts, but sadly, reports in most major places are rarely taken seriously, but they may limit an accounts' reach or auto-flag it as spam in DMs, so it is still a fairly effortless option to follow. DO still DMCA claim them though.

6. Where do I actually find real people to commission?

Your best bet is through other real people. Let me explain some good methods for this.

Do you have friends who are artists? Ask them if they have commissions open, or if they know other people who take them. Artists almost always know other artists, and they can quickly find you someone you can trust.

Did a friend of yours get a commission? Ask them who was it from if you like the style, and they may be able to get you a link to their social media!

Do you follow artists for any sort of content you're interested in? (General art, fanart/fandom stuff, people you look up to, etc). You can check their work first and see if they have commissions, or if they share art from other people, and then check those.

Scammers really don't partake in fandoms or have art-related posts go viral (some get some follower-begging bait going viral, but that's it). Chances are that, if you found a cool art in your dashboard or timeline, it is from a real artist.

I think places such as VGen need verification for artists and have ratings. I am not personally experienced with it, but you may want to check that out.

You can always ask people to double check with you if you found someone but are doubtful about them being legit. If you are part of any community, do ask there! If you have artist friends, tell them! A lot of artists are acquittanced with the scam issue.

I have seen people do lists of artists available for commissions in places such as bsky, too. These can be an option, but always do verify that the people doing the list in the first place do seem like an actual person.

Ending notes

This is a very long post, but I really wanted it to be very thorough. I would greatly appreciate if you could share it around, as it is a very widespread issue that not many know how to identify. If you do find out scammers in Discords, please DM the servers' admins and link them to this post so they can get banned, in order to prevent scamming and art theft.

If you have any question or you need someone to help you verify an artist being legit or a scammer, my DMs are open for that too. I have talked about this a bunch in other places and I am fairly experienced with these cases, and I would be very happy to be able to lend a hand and find you an artist, if you do need the help. Thank you for reading!

[erika-xero]

Beware, the long post incoming. Pro tips for artists who work on commissions!

DISCLAIMER: I do not have, like, a HUGE online following and can’t be called a popular or viral artist, but I do have some experience and I’ve been working as a freelance artist for more that five years, so I could share a few tips on how to work with clients with my fellow artists. Scroll down for the short summary!

First of all, you always need to have your Terms of Service written down in a document that is accessible for your potential clients. And by terms of service I don’t mean a set of rules like “I don’t draw mecha, anthro and N/S/F/W”. There is much more into it, than you may think when you first start drawing commissions.

You’ll need to understand how copyright law/author’s rights in your country works (for example, US copyright or Russian author’s rights, be sure to check your local resources). There are a bunch of sites where you can actually read some legal documents (. I know it might be boring, but TRUST me, you WILL need this knowledge if you choose this career path.

Russia, for example, is plagued with shops selling anime merchandise. The merchandise is usually printed somewhere in the basement of the shop and the shop owners literally rip off other people’s intellectual property. If the artist ask them to remove their IP from the shop the owners usually try to fool them with lies about how the IP works. They will tell you, that you have to register copyright on every single drawing and if you don’t do it anyone can reproduce and sell your artwork. In reality, copyright law in most countries simply doesn’t work this way. Once you create an original work and fix it, take a photograph, write a song or blog entry, paint an artwork, you already are the author and the owner. Yes, there are certain procedures of copyright registration, which is only a step to enhance the protection, but you become an author the very moment you create a piece of art, and no one have a right to take your creation from you. Knowing your rights is essential.

Some of your commissioners may try to scam you too, but most of them might simply not be aware of how copyright law works. I literally had people asking me questions whether or not the character I am commissioned to draw becomes MY intellectual property. I literally had to convince the person (who was legit scared, since the commissioned piece was going to be a first image of his character ever created) otherwise. If you have an idea of the character written down or fixed in any other form such as a collage, a sketch, or a concept art -- the character is yours. Artist may have rights to the image they create, but not the character itself. Your potential commissioner must acknowledge that their characters, settings and etc. is still theirs, while your artwork is yours, if your contract doesn’t state otherwise. You can sell the property rights on your artwork to your commissioner if you want, but it is unnecessary for non-commercial commissions. And I strongly advice you to distinguish the non-commercial commissions from commercial ones and set the different pricing for them. Even if you sell ownership of your artwork to your commissioner, you can not sell the authorship. You will always remain an author of your artwork, thus you still have all the author’s rights stated in the legal documents.

Another thing that is absolutely necessary to be stated in your terms of service is information whether (and when) it is possible to get a refund from you. You absolutely have to write it down: no. refunds. for finished. artworks.

You have already invested time and effort to finish an artwork. The job is done and the money is yours. I’ve heard stories of commissioners demanding refund a few months later after the commission was finished and approved by the commissioners, because, quote “I do not want it anymore”. Commissioning an artist doesn’t work this way, artwork is not an item purchased on shein or aliexpress that can be sent back to the seller. It is not a mass production. It is a unique piece of art. Example: My friend once drew a non-commercial commission for a client who tried to use it commercially later on. She contacted him and reminded of the Terms of Service he agreed with, offering him to pay a fee for commercializing the piece instead of taking him to the court or starting a drama. He declined and suddenly demanded a full refund for that commission via Paypal services. My friend contacted the supports and showed them the entire correspondence with that client. She also stated that the invoice he paid included a link to the Terms and Service he had to agree with if he pays that invoid. The money were returned to her.

However, partial refund can be possible at the certain stage of work. For example, the sketch is done, but something goes horribly wrong. Either the client appeared to be a toxic person, or an artist does not have a required skill to finish the job. I suggest you keep the money for the sketch, but refund the rest of the sum. It might be 50/50 like I suggested to my clients before (when I still could work with Paypal), but it really depends on your choise. I suggest not doing a full refund though for many reasons: not only you make yourself vulnerable, but you also might normalize a practice harmful to other artists this way.

The main reason why full refund when the sketch/line-art are done must not be an option is that some clients may commission other artists with lower prices to finish the job. This brings us to the next important point: you absolutely need to forbid your clients from altering, coloring or overpainting your creation or commission other artists to do so. This also protects your artwork from being cropped, changed with Instagram filters or even being edited into a N/S/F/W image. Speaking of which. If you create adult content, you absolutely need to state that to request such a commission, your commissioner must at least be 18/21 years old (depending on your country). And as for the SFW commissions you also have to state that if someone underage commissions an artwork from you it is automatically supposed that they have a parental concern.

There is also a popular way to scam artist via some payment systems, called I-did-not-receive-a-package. Most of the payment systems automatically suppose that you sell goods which have to be physically delivered via postal services. This is why it is important to state (both in the Terms of Service and the payment invoice itself) that what commissioner is about to receive is a digital good.

And the last, but not the least: don’t forget about alterations and changes the commissioner might want to make on the way. Some people do not understand how difficult it may be to make a major change in the artwork when it is almost finished. Always let your commissioners know that all the major changes are only acceptable at early stages: sketch, line-art, basic coloring. Later on, it is only possible to make the minor ones. I prefer to give my commissioner’s this info in private emails along with the WIPs I send, but you can totally state it in your Terms of Service. I do not limit the changes to five or three per commission, but I really do appreciate it when I get all the necessary feedback in time.

To sum this post up, the info essential for your Terms of Service doc is:

- The information on whether or not your commissions are commercial or non-commercial. If they are non-commercial, is there a way to commercialize them? At what cost?

- The information on author’s and commissioner’s rights;

- The information on whether (and when) refunds are possible;

- The prohibition of coloring, cropping, overpainting and other alterations;

- The information on whether or not you provide the commissioner with some physical goods or with digital goods only;

- Don’t forget about your commissioner’s age! If you work with client who is a minor, a parental consern is required. And no n/s/f/w for underage people!

- You may also want to include that you can refuse to work on the commission without explanation in case you encounter a toxic client or feel like it might be some sort of scam.

- I also strongly suggest you work with prepay, either full or 50% of total sum, it usually scares off the scammers. I take my prepay after me and my client agree on a rough doodle of an overall composition.

- I also include the black list of the themes: everyting offensive imaginable (sexism, homophobia, transfobia, racism, for N/S/F/W artists it also might be some certain fetishes and etc). Keep your reputation clean!

- Ban N/F/T and blacklist the commissioners who turn your artworks into them anywayss, don’t be shy <3

These are the things that are absolutely necessary but are so rarely seen in artists’ Terms of Service that it makes me sad. Some of these tips really helped me to avoid scams and misunderstandings. I really hope it helps you all!

[ohnoitstbskyen]

Hi Skyen, hope you're well! I'm seeking some advice and since you used to work doing mainly art commissions I figured asking you was worth a shot.

I'm a furry artist and I'm looking into doing commission work as a side gig while I finish animation college, and hopefully acquire enough experience/clients/notoriety to turn it into a full time job once I graduate.

Do you have any advice for someone literally just starting out with fresh accounts and zero following? Especially when it comes to reaching people and getting your first clients, and anything that one should take into account when working with NSFW specifically. Also advice for pricing your work is always useful 😅

No need to answer obvs but I'd appreciate your viewpoint if you want to share!

Got 2 asks on this exact subject so I'll write up what advice I can. One big caveat: I haven't worked as a commission artist for like half a decade at this point, and this job has a tendency to change fast, do not take anything I say as gospel. This is advice from a limited perspective, be critical of what I say and trust your peers and the people you are in community with before you trust me.

building audience

Step one is getting people to notice the artwork you create. Literally nothing else can happen until you have eyeballs on your work, and the most consistent and reliable way to make that happen is fanart. Ideally you'd want to produce fanart in a fandom you are personally engaged with and passionate about and familiar with, and which also has a sizeable community whose attention can help you build recognition and a base of followers.

This isn't always possible, and there's many a working artist who creates work for fandoms not out of deep personal connection, but because the fandom is large and relevant and a good way to capture the goodwill of algorithms and content feeds.

This approach has some downsides. For one, genuine fans can usually tell when someone's engagement with Their Thing is shallow, and for another it can be deeply creatively exhausting to chase the algorithm. I don't recommend this approach, but it is a valid means of building a business.

Another important consideration, especially when you are early in your career, is that volume tends to trump quality. Every artist will eventually learn that their shitty joke-doodle they sh*t out in ten minutes on a whim will get a billion reposts, and their complex personal work that took eight weeks to finish gets 2 likes from their closest mutuals and a comment from a bot saying "wow!"

In the age of the algorithm, what machines and for you pages value is a consistent, high-volume of output that generates user engagement. You will generally get further, faster, by producing a lot of work than you will producing great work. Again, this can be rough on your mental state, and a fast way to burn the fuck out, so please be careful and mind your health before all else.

The best way to build something that will last is to build your audience in communities and around fandoms and themes and ideas you genuinely care about and enjoy exploring and interacting with. Being your authentic self and creating work from your authentic interest is generally both healthier and long-term better for your career than trend-chasing. Treat trend-chasing and volume > quality output as tools in your toolbox, as creative and business decisions you can make to achieve a specific purpose, never ever EVER let them become the center of your praxis or your philosophy. Never ever EVER allow the Numbers™ to be your source of validation and accomplishment.

building business

Ok, so you've got eyes on your work. You've got some followers. How the hell do you get them to commission you?

Well, again, by demonstrating a capacity to create kinds of art for which there is demand. In the furry community, there's brisk trade in things like ref sheets and character design, for example. For most fandoms, ship art is a product which tends to be in demand. Being able to do really good expression sheets is a marketable skill. Being able to create compelling and clear emotes for streamers and creators is a marketable skill.

Showing the capacity to work in a wide range of styles is valuable. Showing the capacity to work in a wide range of genres is valuable. If you can do both comedy and romance your appeal expands. If you can do shonen-like action and angst as well, it expands again.

Equally, being incredibly good at a specific niche is valuable as well. Focusing hard on an under-served niche of work can give you a lot of opportunities to be the Go To person for that specific kind of thing.

Perhaps the hardest part of all of this is marketing yourself. Not only showing that you have the skills, but actively informing your audience that you are available, eager and willing to practise your skill for a fee. You have to sell yourself. It sucks, but you have to do it. You have to advertise what you can do, and you have to suffer the rejection and annoyance that comes along with doing that.

You have to ask people to commission you. You have to raise your hand and demand attention. It's not fun, but it's business.

Walking the line between self-promotion and being a person is hard. I can't help you that much with it, it's a very personal balance to find. Stay in touch with your soul, but kill the part that cringes at yourself.

Ultimately, you best marketing asset is your portfolio. Every time you do work, show it off. Repost it, retweet it, spread it around. If someone is happy with what you've made for them, do your best to make sure that other people see that happiness. Ask your clients (politely) to tag you when they share your work.

Oh, and for the love of god, sign everything you create, slap watermarks on anything that's likely to get reposted, and make it impossible for someone not to find your business email on your profile.

building network

If you're a commission artist, you are in community with other commission artists. You share interests, you share experiences, you share needs.

Practise solidarity. Absolutely seek out professional peers to help your business, but equally seek out opportunities to help them with theirs. If someone comes to you for art and you don't have commission slots open, point them at a colleague who you know can do the work too. Gas up your peers and spread their work.

Be a symbiote, not a parasite. Respect the craft of your peers, and don't chase celebrities and big names in the hope of coasting on their coattails. It will fail.

smut

If you're a working artist, at some point you have to reckon with smut and r34.

These genres are excellent sources of income, and fertile ground to build a business and network of customers. BUT. Do not ever make the mistake of thinking that they are "the easy way" or a shortcut. Do not ever make the mistake of thinking you can simply offer to draw tiddies and rake in the cash.

It's work and graft same as literally any other form of labor, it's challenging on both a technical and creative level, and the audience can sense if you're looking down on them. If you approach this from a position of shame, of "eugh, I'm debasing myself by doing this for rent money," it will not work, and you will lose standing and respect in the eyes of every peer whose support you need to succeed.

Just as in all other forms of creativity, if you treat the audience as morons who will slurp up whatever slop you serve them, then you will attract clientele that agrees with you, and you will deserve the misery they will inflict upon you.

If you are going to work in smut, establish your boundaries and enforce them. Know that good clients will feel safer and more comfortable with an artist who clearly states their red lines and earnest interests than they will with someone who tries to attract more clients by pretending to be open to work that they are actually uncomfortable with.

Never, ever, EVER let a client push you to create work you are not comfortable creating. It scars your soul in both the short and long term.

Also, when working with this kind of content, know the rules of payment processors and know how to hide the nature of your business from them. PayPal should never, EVER know the details of the content you sell with their service. Frankly, neither should your bank, most likely.

Look to your peers for advice and best practises about this. And be meticulous about your bookkeeping.

money

I want to tell you to charge at least minimum wage for your time. I want to tell you to charge substantially more than that, because your labor is specialized and highly skilled.

But the economic reality of commission work is that there is a crushing downwards pressure on the labor price of art, which has only been made more devastating by the rise of generative AI, and especially when you are a young artist just starting out, you're going to find yourself in a position where charging even minimum wage for your time will turn away a huge proportion of your potential customers.

Again, your portfolio will be the greatest argument for the value of your work, but you have to build that portfolio first, and very often that means doing a f*kton of work for not remotely enough pay until the pressure of demand finally works in your favor.

I don't condone or justify this state of affairs. It is horrid and I hate it, but I don't know how to fix it either.

Making a living from content creation of any kind requires you to get lucky, on top of working obscene hours and foregoing rest and vacations. It's not a safe or sensible plan for a career or paying your bills.

My sensible advice is to get a "normal" job you can survive doing, and do your creative work on the side, and resign yourself to the possibility that the creative work may never actually pay your bills.

And that is soul-crushing, but I cannot stomach pretending that hard work and gumption will guarantee anyone a decent living if they just try hard enough.

There are people who are better at every aspect of my work than I am, and they struggle harder and work for longer, and they will never see half the success I have, because I happened to get lucky, and they happened not to. It's wretched.

I'm not telling you not to chase your dreams. I'm telling you to do it with your eyes open, and with compassion for yourself first before all else.

All of this to say: I can't tell you what to charge for your work. It depends on everything from your competition to your niche to your genre to your community to your economic situation. You have to figure it out on your own.

All I can tell you is never forget that your work is worth more than the market will let you charge, and to raise your prices as soon and as much as you can. Try to reach at least minimum wage for your time as fast as possible.

in conclusion

Again, I haven't been a commission artist full time for a long time, please do not take any of this as gospel. Listen to your peers before you listen to me.

But trust me about the solidarity. It will save you when all else fails.

[fordtato]

Emergency commissions/donations to help me move!

Hey all! I'm in a tough financial spot with a very unexpected $1000 move-out fee, and I need some help!

So I am offering fic commissions AND background/landscape art - That's right, writing AND art, for the prices below! I also will accept donations, but I feel more comfortable offering art, etc.

Donations:

I will accept donations if you just wanna help out! If you'd like to pay for a commission, keep scrolling.

If you would just like to donate without a commission, here is my Ko-Fi!

Fanfiction commissions:

Won't write:

fandoms I know nothing about (DM me if you'd like something outside of Gravity Falls work, though I'm sure that's where most of my following is)

gore

any type of thing that would get me cancelled on twitter dot com (come on guys, im a YouTuber now)

Will write:

Just about anything else tbh. OCs, melodrama, angst, hurt-comfort, you name it.

NSFW (for adult customers only. im not writing this for teenagers. do your homework)

Rates: $25 per 1k words, with a 150 word buffer. (Meaning, if I write 1150 words, I'm not charging you extra, it'll still be $25)

Send an ask or a DM if you are interested!

Note: I will not be posting these on Ao3, due to Ao3's "no money for fics" rules.

Examples of my fics, if you want to check out my work:

Note: Jersey Boy is my oldest fic (literally 8 years old and still going). The first couple chapters are pretty rough imo. The latter chapters are more in line with my capabilities. Also, yes, this fic is still being written, it's just being written between jobs and between work on YouTube vids, and I have less available time for it than I used to. Pay me to finish more of Jersey Boy (/s)

Background art commissions:

So, 90% of the artists I know tell me that background/environment art is one of the parts of the process they dislike the most. But it's actually my favorite thing to draw!

I actually don't feel comfortable enough in my drawing of characters to feel good about charging people for those, but I think I can consistently do some background art!

Examples of my art/pricing below!

Simpler color palette/lighting, and fewer details: $20-30

More detailed digital paintings: $40-50

For anymore detail then what you see above, we'll have to work that pricing out!

Example of heavy detail that might cost more:

Send me details on what you'd like in a digital painting and we will work out a timetable!

Send an ask or a DM if you are interested!

Donate/pay here: My Ko-Fi

I appreciate you reading, and if you can't help out, please share!

[writingquestionsanswered]

I have the problem where I will come up with a theme, or a character, or a unique perspective to tell a story from, but when it comes to actual plotting, I can't seem to come up with one. Therefore I have a notebook full of ideas and never actually write anything. Where do I get a plot from?

Struggling with Plot

There are plots in all those ideas. You just have to know how to find them.

Look at the "unique perspectives to tell a story from." What story? What story does this character have a unique perspective to tell? The plot exists in that story.

Looking at themes... make a list of all the different ways you could illustrate that theme. For example, let's say a theme you wrote down is "pursuit of love." What are some ways you could explore that theme? What are some different examples of a person pursuing love? The plot exists in those ideas...

Looking at characters... consider where this person lives. What is their daily life like? Who is important to them? What are their hopes and dreams? What is a misbelief they have about themselves and/or the world around them and where did this misbelief come from? How does that misbelief hold them back in their daily life? What dramatic thing could happen that would turn their world upside down and force them on a path that ultimately corrects this misbelief? There's your plot...

Have a look at the following posts for a better understanding of how stories, plot, and story structure works:

Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict Guide: How to Outline a Plot Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

LEARN MORE about WQA

SEE MY ask policies

VISIT MY Master List of Top Posts

COFFEE & FEEDBACK COMMISSIONS ko-fi.com/wqa

[hackfurs]

Hey, I'm Cassius! You can call me Cass or Hack. I'm a furry artist and aspiring author with a love for red pandas. I'm currently open for commissions, and I'm also in the process of writing my first book! I mostly use this blog to post my art and reblog other people's furry art. You can also find me rambling here, too. [No minors.🔞]

If you'd like to get some art done, consider checking out my commission form below and submitting a request! The form will walk you through everything you need to know. If you have any questions, concerns, or special requests, send me a message!

You can also support what I do by throwing me some food money on Ko-Fi, sharing my art, or following me on my other platforms!

Commission Form: -[SLOTS OPEN] [Examples]- (Price: Full body, fully shaded pieces start at 80.00 USD) Support me with a donation: -[Ko-Fi]- Find my art: -[Art Tag] [WIPs] [Writing]- Other links: -[Twitter] [18+ Art Twitter] [B.sky] [Queue]-

[rebelumbrella46]

Let’s just be honest—The Umbrella Academy was essentially cancelled after Season 3, but given the massive fandom, Netflix gave them the chance to wrap up the story with a final season. It’s similar to what happened with Shadowhunters—it was cancelled, but after the outcry from fans, they were given two more episodes to tie things up.

For me, the first two seasons were masterpieces. They truly became my comfort show and introduced me to my comfort characters. This might sound cheesy, but it’s true—when the first season aired, I was going through a rough time in my life, and I held on to this show like my life depended on it. Season 2 arrived amidst the pandemic, and it was a light in the darkness for me as well. Even with the massive success of Season 2, I think Netflix hesitated to greenlight another season. I remember waiting for an announcement, and it felt like it took forever.

Season 3 was filmed during the pandemic, and if I recall correctly, Netflix cut the budget for visual effects. So, the season didn’t quite live up to the expectations set by Season 2. Regardless of its flaws, I enjoyed it, but I would have enjoyed it more if the writing hadn’t been so sloppy and, at times, cheesy.

But this last season? It feels like fanservice—and not even good fanservice. For example, the Lila and Five thing? The enhanced powers? The Jennifer Incident? All of it fell flat. Klaus’s storyline this season was basically what I wanted to see in Season 3, but it was delivered too late and added nothing meaningful to the plot.

But was the main plot really supposed to be about Jennifer? Who cares about introducing a new character in the final season instead of focusing on saying goodbye to the beloved main characters?

The subplots were boring. Klaus’s storyline was fanservice, but it felt like they just threw us a bone to appease years of fans asking for Klaus to get his comic powers. And it was insulting. Ben and Jennifer in love? Unrealistic and boring. The train station? Who came up with that cheap idea? I thought it would be a place built by Reggie, but there was no explanation at all.

The apocalypse no longer feels exciting or even important. There’s no sense of urgency anymore.

The family dynamics—the strongest part of this show—felt odd and weak. Pairing Viktor with Reginald was boring. Lila and Diego’s drama? Nonsense. And what was the point of Claire? I thought she would be the main conflict of the season, with everyone banding together to save a character we’ve known since Season 1, who has emotional ties to every Umbrella.

And where were the villains? To make it as interesting as Seasons 1 and 2, you need a great antagonist. Like Hazel and Cha-Cha, The Handler, Reginald, or even an antihero like the Sparrows, Harlan, or the Commission. Why not make Abigail the greatest threat? Or bring back some of the former villains?

What about resolving old family drama, so that if the show’s end was going to be the family sacrificing themselves, they could all go in peace?

Instead, they didn’t address Allison’s betrayal at all. They created a huge rift between Five and Diego. Nothing for Klaus and Ben. No Umbrella Ben. No Sloane. Why is Lila even here anymore? Why didn’t she just ditch out like Ray and leave Diego with the kids to be a single dad? That would’ve made more sense coming from Lila than from Ray, to be honest.

For me, the writers, producers, and directors knew this show was cancelled, so they didn’t even try anymore. For me, the ending of season 3 was meant to be the ending of the show.

I watched Game of Thrones after it ended, so I didn’t experience the same level of rage, disappointment, and betrayal that fans felt. But now, I do.

[ladygwyndolin]

Have you ever wanted to read a story written by a published author just for you? Then you're in luck, because my COMMISSIONS are OPEN once again! I'm opening 5 slots with a maximum of 4k words apiece, complete with specific discounts down below!

WILL WRITE: fanfic, OCs, character/reader, analytical nonfiction, original concepts, furries, existing fic canons, kink, original stories, abo, etc.

WILL NOT WRITE: Incest, adult/child relationships, etc. (please respect my comfort level)

FAVORED SHIPS (no discount, but ones I'm very familiar with and can do most efficiently):

-Suletta/Miorine (Gundam Witch)

-Noi/Nikaido (Dorohedoro)

-Rem/Misa (Death Note)

-Kyomami/Madohomu

-Any F/F Mass Effect ship (shiara gets a bonus)

DISCOUNTS ($5/1k words off for any comm of these ships):

-Any F/F ship, Reinhard/Kircheis (LOGH)

-Mireille/Kirika (Noir) or Nadie/Ellis (Cazador)

-Integra/Seras (Hellsing)

-Warmonger/Shaman (For Honor)

-Femshep/Liara -Any F/F ship (Murcielago)

-Any F/F ship (Soulsborne/ER)

(There are plenty of other things I'm happy to write, so don't feel limited by that list! If you're curious about whether or not I'm familiar with a piece of media, don't hesitate to shoot me a message and find out!)

Some examples of previous work:

SFW: "The Lives That I Have Loved (And Actions I Have Hated)" (Rennala/Marika) https://archiveofourown.org/works/45324904

18: "Not Yet Forsaken" (Lae'zel/Shadowheart) https://archiveofourown.org/works/49949596/chapters/126109429

Tips are appreciated but not required! Feel free to lmk if you have any questions or want to reserve a slot! Reblogs are also a huge help. I look forward to writing for you :D