It's good to see collectors come forward as you are. 
I'm an artist that focuses on higher-end stuff. I can't afford to work in the range you mention, but if you want to check out some of my pieces, I have links in my sigs.
My personal favorite is still POISON IVY .
Hiya,
I have commission options in that price range. Check out the link in my sig, rates are on the front page.
Here is a recent example.
Blacklisted
"I'AM SATANS FAVORITE CHILD!!"
Stand aside you two art gods... let a struggling artist through...
Personally if I could afford you Doug, you would never be out of work.
And let me just say, owning an original Battlewraith is an honor...
But back to the OP's request... I'm having an all summer sale, with openings soon to be open... just one more to go, before 4 slots open up!
Check my signature out for the info...
How fortuitous! I've just posted a Journal Entry regarding reopening commissions!
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It's good to see collectors come forward as you are.
I'm an artist that focuses on higher-end stuff. I can't afford to work in the range you mention, but if you want to check out some of my pieces, I have links in my sigs.
My personal favorite is still POISON IVY .
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Your stuff is pretty cool. I might eventually want to get something from you, but let me quickly explain how I usually go about pictures and business, to give you and the other artists a better idea of what I usually do so you can make a decision about us working together.
I tend to get art from as many different artists as possible. I have some "trusted" friends I go with, but I like to get stuff in various different artstyles. I prefer to get full color images, but will occasionally go for sketches or inks if someone's offering a special. I try to work with as many different artists who use different styles and methods as possible. My process usually involves paying in full after I see a sketch (or equivalent). I prefer to see the picture at each step (sketch, inks, flats, color) so I can sign off on it.
But I'm easy and I give artists a lot of freedom on what to do. My general practice is to give you all the information you need to draw the character accurately, and let you know to do whatever you want. Some people freak out when I tell them they can draw the character wearing anything and doing any pose they want, but most artists appreciate having the freedom rather than being told exactly how to draw the character or having to follow a pose guide. I usually get happier artists and I get pleasant surprises when a picture turns out really unique and interesting because the artist took it and ran with it. But that's also why it's important for me to sign off on each stage, to make sure everything is okay.
For prices, I tend to hover in the below $50 range. I've paid as much as $100 for a picture, but that's very rare. There are a lot of lesser known artists I'd rather give work to than spend giant wads of cash on "famous" artists. Basically, I'd rather support the starving aritsts than the ones who are already successful enough in their own endeavors. I try not to consider it a "quantity vs quality" situation, because there's a lot of talent to be harvested in budding artists who haven't had much exposure yet.
Anything over $40 I consider a "one-time" buy. Anything below $40, if you're good enough, I may sign up for numerous pictures. And if you're affordable and really good, I may work with you for a long time and look to you anytime I need something new to see if you want a job.
That's how it has been, at least, around the circles I usually go in. I know around here there are more "professional" artists who can produce really high-quality stuff, and to ask them to do something for $30 would be almost silly. I wouldn't try to ask for a super-low price for a painting or anything. There are factors like medium, as some people do traditional artwork on paper while others I know do theirs entirely digitial, which reduces the production costs.
So, I'm still primarily looking for something $50 or less, but I'd be open to discussion on other price ranges depending on the offer.
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Hiya,
I have commission options in that price range. Check out the link in my sig, rates are on the front page.
Here is a recent example.
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To segway into this post and show what I mean:
http://battlewraith.deviantart.com/a...race-106192393
That's a fantastic piece, and I'd probably pay more than the $25 you cited on that one for something of that quality. So something like that would probably be the sort of repeat-business pricing/quality ratio I mentioned above. In a week or two once I'm through with my current batch of commissions, I'll give you a holler.
For JL and Foo, you both have nice work. I glanced through your galleries, and might be interested in an exchange. I'd like to see more examples, especially if they're laid out like BattleWraith did, so I can see what to expect of each price range, if that's not too much hassle.
Thanks for the replies so far; I'll keep tabs here and will also be posting finished commissions as they come in.
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Originally Posted by PRAF68_EU
Dispari has more than enough credability, and certainly doesn't need to borrow any from you.
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My process usually involves paying in full after I see a sketch (or equivalent). I prefer to see the picture at each step (sketch, inks, flats, color) so I can sign off on it.
....For JL and Foo, you both have nice work. I glanced through your galleries, and might be interested in an exchange. I'd like to see more examples, especially if they're laid out like BattleWraith did, so I can see what to expect of each price range, if that's not too much hassle.
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What if you don't like the sketch, does the artist revise until you are satisfied, even before they are paid. Or do you agree on a set amount of free sketches beforehand.
Also, checking each stage slows the entire process down, time the artist can spend on other commissions or finishing in general. I understand, you are entitled to get what you pay for, and wouldn't want a mistake to happen.
But if you trust the artist's gallery, and have done the research of looking at their "range", I don't see how seeing those stages helps anyone?
My apologies for coming off too bold, but I think these "details" are something you should state up front before "asking" for an artist to throw their hat in. Here's an example:
Wanted: Artist for Hire
Fee: $50 or less
Required: 3 examples of past work at various prices.
Neccessary: to see each stage (sketch, inks, flats, final colors) however payement in full after the sketch.
This ad gives no surprises. Regretfully I am offering only my current sale. While I enjoy doing more involved work, I already believe I undercut myself, partially because of the market, and partially to be fair to the community which is not made up of money trees.
Battlewraith and Foo are both able and while it's not a hassle to provide links, I feel a little insulted, AND we are not permitted to quote prices here. You also got my initials wrong. Good luck to you.
LJ
Don't get me wrong, I HAVE provided all those stages before, not to mention multiple links and an excessive journal full of prices.
I STILL provide those things after the fact, well not flats, (I am still bewildered why you would ask for those, unless you intended to use them to recolor the image) but certainly sketches, inks and final colors, which I believe the client deserves...
Now I work unusually fast, what would you as the client be willing to wait on something like that for your $50 or less. 2 weeks? A month? 3 months?
Remember an artist with a long queue cannot break the laws of time, no matter how much the client wants their piece. Personally I feel long queues lead to disaster, as if the artist is not on top of the business end, they will burn out on the creative end.
Here is my Commission Info and my write up on Thor's Assassin's thread on artists for hire...
I am the 10th example in his first page. Also here is my Art Blog with stages of various pieces...
and lastly my gallery of previous commissions...
That seems like an awful lot of stages for work under $50. For 20 minute sketches at a convention, that's usually been the starting price. Some artists don't even go through an inking stage. For me, part of the fun is finding/meeting new artists and on DA, I use to receive alot of artists messaging me, asking me to commission them and well, I kinda hate that. I typically search through galleries and favorites of the people I watch on dA. If I like an artist's work, I'll inquire about commissions and prices, "famous" or otherwise.
Edit-
Well, I can understand wanting to see the flats stage. If a color for a specific object is just plain wrong, well it'd be more work for the artist, since he/she would basically have to start that area all over again.
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...That's how it has been, at least, around the circles I usually go in. I know around here there are more "professional" artists who can produce really high-quality stuff, and to ask them to do something for $30 would be almost silly. I wouldn't try to ask for a super-low price for a painting or anything...
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No worries at all, and I completely understand. I also support grass roots art communities and love forums such as this that give everyone a shake at getting their art seen, with equal footing and respect. I do the higher-end stuff because that's what interests and challeneges me, but I'm very aware that it's impossible for an artist to cater to everyone.
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...There are factors like medium, as some people do traditional artwork on paper while others I know do theirs entirely digitial, which reduces the production costs...
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This is an interesting comment because I've never spent so much on materials since I became a digital artist.
When I was doing stuff with pencils and oils, I could produce a piece for a dollar or two. Pads of paper were perhaps 5 bucks, and pencils cost a few bucks and last for 50 sketches. Tubes of paint are a few bucks and last several years. I've used the same brushes for a decade.
But my digital stuff... woah nelly! I have to maintain 2 high-end computers, buy upgrades for Photoshop, Illustrator, Maya ($$$), Vue Infinite, and other incidentals like a drawing tablet and CDs for archiving everything. Then there are monitors at several hundred each. The 3D models cost anywhere from $5 bucks up to $50 before I give up and just model things myself.
Digital art has it's advantages, but cheaper materials isn't one of them. 
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Edit-
Well, I can understand wanting to see the flats stage. If a color for a specific object is just plain wrong, well it'd be more work for the artist, since he/she would basically have to start that area all over again.
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Most flatting is done in muted or outside palettes not related to the final, some even flat in greys... I tend to use either an extreme dark or extreme light, so that that is one stage I don't have to cover. Which means if you saw my flats, they would make little to no sense for the final.
Good point Doug, oh wise one!
By the way would you cater to a low end freebie sketch of my main? LOL sorry I couldn't resist.
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By the way would you cater to a low end freebie sketch of my main? LOL sorry I couldn't resist.
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Who, me? You've drawn Light-speed a time or two, so send me some references and I'll put something together tomorrow (Friday).
LOL that's okay Doug... I'm saving my freebie sketch for when I return to NYC, I'm gonna hit you up in Brooklyn and see that sucker done in person! Lunch is on me...
My procedures aren't totally set in stone, and I'm open to discussion on anything you're concerned about. Let me start by answering your questions though.
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What if you don't like the sketch, does the artist revise until you are satisfied, even before they are paid. Or do you agree on a set amount of free sketches beforehand.
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I've yet to actually deny a sketch from anyone, but I may ask for small changes. I also have artists who voluntarily draw me a handful of sketches and let me pick. Occasionally I do have artists who let me know they'll have to charge extra if they end up having to do more than a couple sketches, which I always agree to. I've yet to be charged extra for asking for additional sketches. As I mentioned, I'm easy to work with.
Mostly this is to make sure we're on the same page. I've worked with more than 30 artists, and some will get details wrong, and I've had people agree to draw something and then deliver a "finished" product without checking in with me at all, at which point it's hard to fix things. Those scenarios can be very disappointing.
I do this for both our benefits. Me, so I can make sure you aren't doing something crazy like forgetting my character is female. You, so you know right up front that there won't be anything that needs to be changed when it's too late or too much of a hassle to do so.
As for paying after a sketch, it's the best way to make sure nobody gets screwed. I've paid up front before and had money stolen, and I'm talking more than $150 here. But I also know artists don't want to do a lot of work before seeing money. So try to see it from my point of view. Would you be willing to give a hundred bucks or more to someone you don't know online without any collateral? I pay in full after a sketch so that even if I get ripped off, I have something to show for it. A sketch is just the first step for an artist, to know that we both know what's going on and the artist is ready to get started.
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Also, checking each stage slows the entire process down, time the artist can spend on other commissions or finishing in general. I understand, you are entitled to get what you pay for, and wouldn't want a mistake to happen.
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It's for one to make sure no mistakes are made. But I don't really slow down the process that much. And it doesn't necessarily slow down other commissions, since you can work on them while waiting to hear from me. Past the sketch stage, my comments are rarely more involved than "That looks good; you can go on to the next stage." I only speak up if there are details like colors being wrong. But again, I do that so I don't have to have you go back and redo something after you've already shaded and flattened it. The only parts I really want to see are sketch, inks (if applicable), and flats, and that's just to make sure everything is okay. Very, very rarely would I hold up the process any longer than to just say "That looks good."
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But if you trust the artist's gallery, and have done the research of looking at their "range", I don't see how seeing those stages helps anyone?
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Another reason I do it is for "proof" and as a prevention for art theft. I've had pictures of my characters stolen and used before. Being able to show that I have early versions of those pictures saved lets them know that I was the one who commissioned it and I know the artist who did the work.
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My apologies for coming off too bold, but I think these "details" are something you should state up front before "asking" for an artist to throw their hat in. Here's an example:
Wanted: Artist for Hire
Fee: $50 or less
Required: 3 examples of past work at various prices.
Neccessary: to see each stage (sketch, inks, flats, final colors) however payement in full after the sketch.
This ad gives no surprises. Regretfully I am offering only my current sale. While I enjoy doing more involved work, I already believe I undercut myself, partially because of the market, and partially to be fair to the community which is not made up of money trees.
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Maybe, but I always discuss things before getting started with an artist. If you have an issue with any of my policies, we can discuss that before any money is exchanged or anything is scribbled. I have made arrangements for artists before, in case they have special requirements of their own.
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You also got my initials wrong. Good luck to you.
LJ
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Typo, since I did this before leaving for work. 
So, sorry if I've offended you with any of this, I just wanted to note what my usual procedure is. Since I'm stepping from one community to another, I know that people will run things differently or have different expectations; I was merely stating what I'm used to. But I'm always open to different methods.
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Digital art has it's advantages, but cheaper materials isn't one of them.
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I suppose it depends on who you talk to, since I know people who charge more for traditional things, especially if they're using expensive pens or markers. I also know people who use free art tools like OpenCanvas.
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Originally Posted by PRAF68_EU
Dispari has more than enough credability, and certainly doesn't need to borrow any from you.
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...I suppose it depends on who you talk to, since I know people who charge more for traditional things, especially if they're using expensive pens or markers. I also know people who use free art tools like OpenCanvas.
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Yeah, I've noticed people tend to charge more for the original as well. I don't think that's a reflection of the materials cost as much as the fact you're buying a unique item... which certainly has it's merits. I've noticed that my ability to make prints as a digital artist has gone way up, while my options to sell originals has dropped off significantly.
As for OpenCanvas; that still doesn't cover hardware costs ...but point taken.
I'd just like to chime in and say as a person who has done a fair amount of commissions, unless the piece is one of my mini-portraits, I always have sketch/pencil/ink/color approval stages. I'd rather have tweaks/changes requested at stages where I can actually change it without a big hassle to me than at the end!!
Does it cause a big slow-down? Not really. While waiting on an approval, I work on another piece. It helps me to jump around a bit so I'm always looking at my pieces with fresh eyes, so to speak.
Dispari, your commission method is pretty much 100% how I've always run my commissions (except I only require a half deposit after pencils and full payment to receive the piece). So LJ... maybe YOU'RE the total freak, neh?! And I think I have the video surveillance tapes to prove it, too 
I do a rough sketch, take payment when it's agreed to, then check in after flats and towards the end. That's because I don't want to have to redo large sections due to being a lazy [censored].
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... So LJ... maybe YOU'RE the total freak, neh?! And I think I have the video surveillance tapes to prove it, too
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whatever do you mean?!
... give me those tapes! 
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What if you don't like the sketch, does the artist revise until you are satisfied, even before they are paid. Or do you agree on a set amount of free sketches beforehand.
Also, checking each stage slows the entire process down, time the artist can spend on other commissions or finishing in general. I understand, you are entitled to get what you pay for, and wouldn't want a mistake to happen.
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Stepping in here...
I tend to like at least seeing a sketch or three... Depending on the person, since I'll tend (*tend*) to give repeat work to people if the entire process works for me.
Graver, for instance, gives a "mannequin" rough of 2-3 poses as I recall. Which is about the amount of work I'd expect right at the beginning, then an in progress... but that's also charging more than Dispari's looking at I'm generally happy with seeing that, then letting the person go on their way to finish the piece.
I've had late changes as well (the first piece I had done by Alex, for instance, had a very late change - minor, but a big impact on one of the three characters, as the way their visible eye was made them look "not part of the piece.")
On the flipside, semaj007 I don't think has ever given me a prelim - but has done such good work with my often... "out there" descriptions that I don't feel like I need them. Others I've avoided really going back to because I'd much *rather* see a prelim instead of just going to final.
I wouldn't expect a WIP weekly, or stage-by-stage for most pieces. Perhaps higher cost ones.
Most comissions i've done have been payed for in advance,
I submit a character sheet to the customer (basically just sketches of bits and pieces of the character i think are important or have been mentioned as important.) so I know im jogging down the right track with facial features etc, while im waiting for a reply I work on the posing for the character (which to me is the hardest part) and when I get the green light I can just add all the character's details to the featureless model and submit the pencil's for approval I'll make minor changes there but if its completely wrong I will ask for a little extra compensation. then I repeat with the inking and coloring.As someone who both buys and sell's art im constently looking to give the same service I like to recieve. Ofcourse I have previously undercharged for my service's (which is subject to a bit of a change) because the whole procedure is very time consuming, particularly as i live in the land down under. if i finish a step in the picture the customer wont get it until its time for me to go to sleep and the cycle repeats so it can take some time.
and also as a buyer and an artist myself I like to see developmental work I think its a great way to learn and its interesting to see the different steps so thats why i do it. but its all preferencial some people just want a picture and dont really care for how it was made and that's cool too. but ofcourse on the other hand nothing makes me happier then commissioning someone and getting the picture the next day so both forms of comissions are great in my opinion.
For a large, multi-figure piece, you HAVE to give sketches with revisions. Especially if your client has NO idea what they want. Graver is such a genius with his work, that even his throwaway sketches are great!
I went through a stage of over inking pieces, and found most of it disappeared when I colored the final. So now I under ink, to allow for more color to shine through... it depends on the piece, but I find too much black conflicts with my style sometimes.
I'm curious on something, kind of in the same thought process as LJ in a sense. What do you do when an artist doesn't have those processes? Using the piece I did for Gray Huntress recently as an example, I sent off six mini pose sketches (which is actually in my scraps on DA) since I was being left with some freedom in that respect. Once a pose was selected it goes straight into a "final production" for black and whites; which I suppose you might consider an inked stage, but in a digital sense the sketches I do are merely little thumb nails and don't actually have any true bearing on the pieces I do.
I can assume that an artists general working process can weigh heavily on how they produce each piece and what not, but "sketch" is almost no longer in my process method since it kind of goes straight into a developed piece. Think like an animator almost. An animator draws something so often and is so familiar with it that they can virtually draw a perfect rendition in any pose straight up. Not saying I'm drawing perfect renditions with an exact art, but I know what my style is well enough.
In comparison down to colors, depending on the level of complexity, expectations, etc, in a piece, color may be a straight forward process that, some parts may have flats and others not or that the flats process may be so off from a final piece that it can't really be used as fair judgment.
In short, if the artist, on principle of their working habits, doesn't even offer those proof stages, what then? Just a curiosity, as seeing I too, like many a...well, not so starving but as being a parent am stereotypically broke, offer commission work (DA through the link in the sig).
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Originally Posted by Arcanaville
Warning: crazy space limit reached. Please delete some crazy and try again. |
I have commissioned a few pieces where I didn't get any stage updates. I was paying a low price for the piece, and had absolute trust in the artist. Also, if it's a simple pinup, I don't really have a problem with that at all. Now if I was paying a good chunk of money on a commission or had a very set idea about what I wanted, then I would think it would be the commissioners responsibility to ask the artist for those updates.
Of course, there's a side benefit to stages - you know the person commissioned is *doing something.*
*glares at a certain DAer who, if her art output were as high as her excuse and promise output, would probably have DA swamped.*
* no, not on this board, as far as I know.
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I'm curious on something, kind of in the same thought process as LJ in a sense. What do you do when an artist doesn't have those processes?
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Really, it's not a big deal. As I mentioned, it's for your benefit as well as mine. The point of asking for the different stages is so I can sign off on things like details and colors, so an artist doesn't have to redo things. If, when I say, "I like to see a copy of the sketch, ink, and flats," you say "I don't really have those stages," we could still work something out. Either we can go from sketch to finish, or you can just offer regular updates when you want to make sure things are okay from one point to another. Whatever it is, we can work something out.
Oh, and thanks for the links, Bill!
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Originally Posted by PRAF68_EU
Dispari has more than enough credability, and certainly doesn't need to borrow any from you.
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Hello people!
Yes, besides being an angry forum poster and a roleplayer, I also collect art. Most of my disposable income goes to getting commissions. So if you're an artist, I'd be interested in hearing what you can do for me.
But for now, I'll use this to post pictures. I'm booked for the next two weeks, so I'll be posting pictures as I get them.
Tomatre by londerwust here on the forums
Tomatre by a friend -- website: <a href="http://www.my-endlessimagination.net" target="_blank">www.my-endlessimagination.net</a>
I have three more commissions of Tomatre coming in the next couple weeks. If you're curious who Tomatre is, her VV page is here.
If you're an artist, taking commissions, and somewhere below the $50 range, let me know! I'll be taking more in a couple weeks.