I originally went there because I had no clue how to progress, and quickly realized I really had to figure out what was good advice and what wasn't. It seems that people there are stuck with the mindset that progressing in art is a slow, boring slog of a grind requiring you to sell your soul to Vilppu to stack gains. "Just draw" has become kind of a meme there, to give you an idea.>just trace/there's nothing wrong with tracing/you'll learn fast if you trace/pros do it all the time lmao just photobash/etc
>fundies aren't important lol
>using reference is cheating
>anything wrong with your drawing? LOOMIS
>the fastest way to get good is to soullessly churn out study upon study for years until you reach critical mass and morph into an art god
I hate this excuse so much it's not even funny. I see so many terrible artist justify their shitty work by saying "it's not a flaw and it's a style". It's another way of just them trying not to own up to any mistakes. I'm not going to act like I don't have things I hate to draw, but you should always strive to do better."It's not a flaw, it's a style"
A style isn't the same as consistently making the same mistakes.
oh you mean like this?Also back in ye olde days of deviantArt I was advised to not give catgirls "butthole tails" and to instead....essentially sprout the tail from the mid-back? and they tried to justify this with some spinal drawing they totally pulled out of their ass which left the poor catgirls paralyzed from the pelvis down.
I can’t agree enough on this point. And also, the younger artists think it’s a point of pride to not have to rely upon references. But professionals rely on references and Giant folders of texture samples, lighting samples, fx samples, cityscapes, animals, subway trains ect.The one that makes me cringe is that pretty much any trade-established technique that's made to save time without compromising style or your budget is "cheating." But I mostly blame ignorance towards the nature commercial vs. the idea of "real art means lots of pointless steps" on that.
In Western art, there's a tendency to study how the Old Masters worked without studying how their studios worked with assistants, apprentices, engineering techniques, etc. and forgetting a lot of them did this to put food on the table. Not that they didn't enjoy it, but "starving artist" is a romantic idea for trust fund babies.
Pricing is probably one of the trickiest things a freelance artist must do, as it can change a lot from job to job. Not everything is based on commission however. Most of my clients will be charged a flat fee for the piece. Other, larger jobs I've gotten (usually firms/companies/studios, etc) I charge by the hour or by the day, based on agreed upon contracts. Day-rates are high, and it's a very common payment format for entertainment-related freelance/contract work. Charging per hour is also a totally valid way to do it too, but you have to assess if it's worth it to you to do so; I'm very fast, and I'd honestly be losing money if I charged per hour.People say to price yourself accordingly and I was told to do the same, but more often than not they do it completely wrong. Art is not a minimum wage job. It is a commission job. You don't charge $30 an hour for a sketch. That makes you look shady. I see so many people treat it like it is one and it's the worst advice I've seen. Compare prices to others in the art community and see what is fair. A sketch can be from $5-10 depending on the skill and effort put into it, but don't charge a fee per hour unless it's livestream thing.
One of the issues I see in the DeviantArt job forums is that people price so low that it's really difficult to get commission for a decent price without having to offer your services for next to nothing. DeviantArt has their own currency called points, which people use for commissions but so many people don't understand what the value of points actually are. The conversion is about 100 points to a dollar, and I'll see people charging 10 points for art. Granted it's usually rainbow wolves drawn by 12 year olds, but I think their effort is worth at least a LITTLE more than a single gumball.Pricing is probably one of the trickiest things a freelance artist must do, as it can change a lot from job to job. Not everything is based on commission however. Most of my clients will be charged a flat fee for the piece. Other, larger jobs I've gotten (usually firms/companies/studios, etc) I charge by the hour or by the day, based on agreed upon contracts. Day-rates are high, and it's a very common payment format for entertainment-related freelance/contract work. Charging per hour is also a totally valid way to do it too, but you have to assess if it's worth it to you to do so; I'm very fast, and I'd honestly be losing money if I charged per hour.
I'd say the biggest problem plaguing pricing is that artists almost always charge way too low. Charging 30 bucks a pop for a colored character piece is not going to put a dent in your bills. Going astronomically high is a no-no, because you'll almost always get rejected, but shooting your sights too low is even worse.