More like, it favors giving the money all the people who make a living off of what the artist produces.
Its like a factory. The artists are the workers at the bottom who actually produce and make the art work. Then there are the managers who promote the art and their bosses who sit at the top, running the factory. It is always those who benefit off of other people’s hard work who get to enjoy the fruits of other people’s labor.
Artists are why publishing houses exist and the reason why editors have a job in the first place, but it is the editors who drive nice cars and live in nice houses while the artists who draw and write the very books the publishers sell, get to enjoy getting paid so little that they can’t make a living off of it.
If you look in places like the animation industry, you can point to any of the big animators who helped make Disney big in the 90s and you will see that none of them can get work. None. New animators have no chance. Artists who have been in the business for 20 or 30 years, who are responsible for the movies that defined a generation are jobless and if they get a job, it is the kind of entry level gig that you’d normally only give to a recent graduate.
Illustration had been fucked for decades. They are getting paid the same as in the 80s, but not adjusted for inflation. More often than npt they get offered jobs for exposure and when they land gigs that pays, it will be two months work for one week’s pay. Asking for more money is not an option. There are no unions. All they can do is work faster to maybe make the low pay worth it. Meanwhile their editors live in gleaming mansions.
You might end up being one of the lucky few scammers in fine art who become rich people’s favourite, but that is a completely different world from the commercial art industry. People work themselves into early graves. There’s a reason why Berserk’s crestor died in his 50s.
Back problems, wrist problems, eye problems, weight problems. And these are passionate souls, which is why it is so easy to take advantage of them and their skills. Most people in the animation industry burn out before they’re 40. You don’t see many middle aged artists in the industry today. Some end up teaching. Most leave the industry all together when those who benefit from their hard work has sucked every bone dry.
The higher ups get fat bonuses. They live the great life. Not a creative bone in their body, but they make a living on the piles and piles of passionate souls who will be eaten up and spit out with nothing to show for it.
That is the life of the artist.
The very, very few ones who rise to the top are often those who have a rich family member or spouse to finance their artistic endeavors. Illusteators, painters, authors, animators, you name it. More often than not, the ones who do well and are successful, have no real financial problems in their lives because their loved ones got them covered.
It’s easy to make an amazing piece of art when you don’t have to worry about money.
More like, it favors giving the money all the people who make a living off of what the artist produces.
Its like a factory. The artists are the workers at the bottom who actually produce and make the art work. Then there are the managers who promote the art and their bosses who sit at the top, running the factory. It is always those who benefit off of other people’s hard work who get to enjoy the fruits of other people’s labor.
Artists are why publishing houses exist and the reason why editors have a job in the first place, but it is the editors who drive nice cars and live in nice houses while the artists who draw and write the very books the publishers sell, get to enjoy getting paid so little that they can’t make a living off of it.
If you look in places like the animation industry, you can point to any of the big animators who helped make Disney big in the 90s and you will see that none of them can get work. None. New animators have no chance. Artists who have been in the business for 20 or 30 years, who are responsible for the movies that defined a generation are jobless and if they get a job, it is the kind of entry level gig that you’d normally only give to a recent graduate.
Illustration had been fucked for decades. They are getting paid the same as in the 80s, but not adjusted for inflation. More often than npt they get offered jobs for exposure and when they land gigs that pays, it will be two months work for one week’s pay. Asking for more money is not an option. There are no unions. All they can do is work faster to maybe make the low pay worth it. Meanwhile their editors live in gleaming mansions.
You might end up being one of the lucky few scammers in fine art who become rich people’s favourite, but that is a completely different world from the commercial art industry. People work themselves into early graves. There’s a reason why Berserk’s crestor died in his 50s.
Back problems, wrist problems, eye problems, weight problems. And these are passionate souls, which is why it is so easy to take advantage of them and their skills. Most people in the animation industry burn out before they’re 40. You don’t see many middle aged artists in the industry today. Some end up teaching. Most leave the industry all together when those who benefit from their hard work has sucked every bone dry.
The higher ups get fat bonuses. They live the great life. Not a creative bone in their body, but they make a living on the piles and piles of passionate souls who will be eaten up and spit out with nothing to show for it.
That is the life of the artist.
The very, very few ones who rise to the top are often those who have a rich family member or spouse to finance their artistic endeavors. Illusteators, painters, authors, animators, you name it. More often than not, the ones who do well and are successful, have no real financial problems in their lives because their loved ones got them covered.
It’s easy to make an amazing piece of art when you don’t have to worry about money.