Anonymous said: You shouldn't raise the price of your commissions at all. You make fantastic artwork for 20 dollars. It is a perfect price.

frankiepunkinarocket:

chanface:

kiango:

chanface:

bonus--level:

Wow I’m sorry but that made me feel really degraded. I wasn’t going to raise it to $100 or something. It’s a perfect price to a buyer, but my art isn’t worth 20 dollars but that’s not my point. 

 Yes I know it’s a good deal, but I’m not a robot. Even if I’m someone that “sucked” at drawing, the matter is all about the time spent on my drawings. On average it takes me 6 hours to create 20 dollars worth of a drawing. That’s like 3.3ish dollars an hour. Working all day. Possibly no sleeping until the next day. No breaks except to use the bathroom or to eat 1 cup of ramen or not eat at all. Because of the time limits I’m receiving.

Please keep in mind the only reason people ever charge 20 dollars for a commission is due of the crippling trend of amateur artists selling themselves short at those prices- a trend that artists like Rinji has to compete with. Any self respecting artist knows that is hardly an acceptable price for their works. Rinji knows that. And that is why I applaud them for raising their prices because it is our responsibility as artists to educate people like you that a 20 dollar commission is not a perfect price at all.

I hope you have learned something from this, anon, and please, never, ever assume nor determine the price of an artist’s time if you are the client and they are their own employer. The price is set by them and it is your choice to either comply or move on.

can we talk about how living wage is $15/hr?

Can we talk about how artists should have THAT as a baseline, and because they are SKILLED WORKERS IN THEIR PROFESSION, should actually be charging even more?

I charge at around $15-$20/hr. My dad’s a freelance graphic designer and has been in the industry for over 20 years; he charges $80/hr.

Rinji works at a little over $3/hr

can we talk about how the expectation for low commission prices is a issue, or…?

because $100 is NOT a ridiculous price. At ALL. That’s ~$16.60/hour for a 6 hour commission, which is cheap as hell.

I mean I get why people price the way they do; competition.

HOWEVER: Each commissioner is commissioning YOU because they like YOUR style. Usually? People are more than willing to pay more. Fuck, dude. I worked at a place that sold knife sets for like $2000/set, and people ate that shit up. People spend money on whatever they want as long as they know it’ll be quality work that they’ll enjoy.


^This.

We should really be encouraging our fellow artists to charge themselves as they would as a professional. You’re offering your services because you know your art is worth doing business with. If we’re not going to stand up for our own industry, no one will.

It’s a fucking scary thing to do to price your work but I came up with what I would pay for a similar piece & then worked out if that covered everything and then make a profit & it does. I just need to do a few tweaks so the quality is the best I can make it & i’ll be ready to sell :3

dreadnoughthoax:

peinturesidiotes:

Claude Cahun, Autoportrait, 1927
I got ambushed by yet another used book sale on my way to the library today, and bought a copy of Claude Cahun’s Aveux non avenus and of the Jeu de paume exhibit of her photography
and holy shit
excerpts forthcoming, biographical summary here

I AM IN TRAINING DON’T KISS ME

Such a delight to see Claude Cahun pop up on my tumblr dash! I’m ashamed to say I didn’t realize there was a whole book of Cahun’s writing/photos out. Getting this ASAP, obvs.

dreadnoughthoax:

peinturesidiotes:

Claude Cahun, Autoportrait, 1927

I got ambushed by yet another used book sale on my way to the library today, and bought a copy of Claude Cahun’s Aveux non avenus and of the Jeu de paume exhibit of her photography

and holy shit

excerpts forthcoming, biographical summary here

I AM IN TRAINING DON’T KISS ME


Such a delight to see Claude Cahun pop up on my tumblr dash! I’m ashamed to say I didn’t realize there was a whole book of Cahun’s writing/photos out. Getting this ASAP, obvs.

(Source: cahun-caha, via highmasc)

!!!

!!!

(Source: eatsleepdraw, via femme-swag)

theotherkindoflucky:

likeafieldmouse:

Keng Lye - Alive without Breath (2013) - Hyperrealistic sea animals created using acrylics and epoxy resin, layer by layer

I think I’ve already reblogged this, but it’s just so fucking amazing it deserves to be seen again.


I actually just said “What the fuck?!” out loud to my computer screen. AMAZING.

(via kddiamond)

beelzebitches:

browsethestacks:

George Leonnec
The Ride
“La Vie Parisienne” (1924)

FINALLY THIS APPEARS ON TUMBLR SOURCED AND UNEDITED
a billion times thank you, I honestly never thought I’d see this day

THIS IS AMAZING AND GORGEOUS AND ALSO UHHNFF. Also, 1924? For realsies?! Awesome!

beelzebitches:

browsethestacks:

George Leonnec

The Ride

“La Vie Parisienne” (1924)

FINALLY THIS APPEARS ON TUMBLR SOURCED AND UNEDITED

a billion times thank you, I honestly never thought I’d see this day

THIS IS AMAZING AND GORGEOUS AND ALSO UHHNFF. Also, 1924? For realsies?! Awesome!

(via femme-swag)

"

I haven’t been disingenuous in what I’ve said describing my perception of “truth” and “reality.” Certainly, I understand what is generally meant to be the “truth,” I understand this notion, but it’s not something I trust in, OK?

The only answer that feels true (I said feels, not is) is that yes, the character Minnie is me, but she is not me. She is a projection of some tumult which originates within me, but she is not me. I use elements of myself, including my likeness, for the character, perhaps as Cindy Sherman uses herself in her work, but like Sherman’s photographs, the work itself is not any more about the creator than it is about everyone. I won’t deny that Minnie does things I have done, and that things happen to her that have happened to me, but she, unlike me, having been created, is who she is and will remain so, unchanged now. I make no attempt to create “documentary.” There is a process of dissociation that takes place when I make a story, I make creative decisions in a fugue state that I could hardly describe to you, but the end result is, I hope, a story with some meaning or resonance, something created, with a beginning, a middle and an end, an encapsulation of feeling and impression, but in no way a documentary of anything other than an “emotional truth.”

If I told most interviewers that my work is “true” and that it is based on real events that occurred in my life, they would more readily accept this than they do the explanation I try to give. Sadly, what they would believe feels to me like a lie and a simplification of a process that is for me as complex and vague as life itself …

"

Phoebe Gloeckner. BOO-YAH.

My fella’s as talented as he is foxy, smart, & sweet. That’s sayin’ a whole lot, y’all.
redangusart:

You guys tired of Buster Keaton yet

My fella’s as talented as he is foxy, smart, & sweet. That’s sayin’ a whole lot, y’all.

redangusart:

You guys tired of Buster Keaton yet

Love it.redangusart:

More unrelated-to-projects art. This is a cyborg and his, er, doctor. Friend. Surgeon. Guy.

Love it.

redangusart
:

More unrelated-to-projects art. This is a cyborg and his, er, doctor. Friend. Surgeon. Guy.

Oooh!
redangusart:
This is the first image for a gallery installation called Care of Lions. The artist’s summary thus far is as follows:

Care of Lions is a series of images and sequences surrounding the lives of traveling circus workers in early twentieth-century America. It addresses the history of queerdom and acceptance thereof in fringe cultures, as well as the definition of “freak” in the context of the freak-and-geek type shows that were popular at the turn of the century. It is about love and fear and family.

Oooh!

redangusart:

This is the first image for a gallery installation called Care of Lions. The artist’s summary thus far is as follows:

Care of Lions is a series of images and sequences surrounding the lives of traveling circus workers in early twentieth-century America. It addresses the history of queerdom and acceptance thereof in fringe cultures, as well as the definition of “freak” in the context of the freak-and-geek type shows that were popular at the turn of the century. It is about love and fear and family.

GO GO GO to THIS IS WHAT I WANT tonight!!!

It’s in San Francisco at SOMArts at 8pm & there are still tix available for tonight’s show, you lucky fuckers! All the pieces I saw last night were spectacular, but Annie Danger’s piece at the end DESTROYYYYYED. ME. In the best way possible. I sobbed the whole way thru; I get tears in my eyes just thinking of it & talking about it today. It was so good, tender, fierce, real and, yes, holy. So GO, please. If you are human, chances are something inside you will get opened up & restored by this art.