Fan art is everywhere...

From bustling stalls at Comic Con to the depths of Instagram feeds - yet it exists in a legal and moral grey zone. Should it be celebrated or is it theft? A way for artists to have fun putting their own spin and an existing character, or the pre-cursor to a corporate headache?

In this post I'll unpack the history, economics, and ethics behind fan art, and ask where that leaves creators who simply want to make a living!

What exactly is fan art?

Fan art is artwork (illustrations, paintings, sculptures or crafts) created by fans that depict characters, settings, or stories from someone else’s intellectual property (IP).

If I drew a picture of Spider-Man, Harry Potter, or Goku, this would of course be considered fan art.

Unlike licensed merchandise, fan art is almost always made without the explicit permission of the copyright holder. It can be purely for personal enjoyment, shared online for free, or sold through online stores or conventions.

A Personal Shift in Perspective

For years, I believed selling fan art was wrong. How could I, or any artist, justify profiting from someone else’s ideas and creative labour?

If you’re creatively inclined and love to draw, why not invent your own characters, design their outfits, and give them unique backstories or personalities? After all, making something that is original, unique, and personal to you is more fun anyway, right?

But over time, my view changed. I began to see that, for many artists trying to earn a living, creating fan art isn’t just a guilty pleasure - it can be a necessity. In a crowded market, drawing what people already love and having instant access to an existing audience of fans can be the difference between a thriving art career and abandoning the craft altogether.

I want to discuss why I’ve arrived at this conclusion, despite my initial feeling that fan art is uninspired, of low artistic value and that selling it is both morally wrong and completely illegal.

A Brief History of “Fan Art” Before Fandom

Long before comic conventions and online fandoms, artists made their living by re-imagining stories that belonged to the culture at large.

In the Middle Ages and Renaissance, most painters worked on church commissions, creating vivid images of biblical scenes and saints. Michelangelo’s Sistine Chapel ceiling (1508–1512) is a towering example: a masterpiece built on narratives that every viewer already knew.

Likewise, thousands of Madonna and Child paintings circulated across Europe—not because the subject was original, but because it resonated deeply with the public and with paying patrons.

In that sense, these works functioned much like today’s fan art. The artists weren’t inventing their own intellectual property; they were visually interpreting a shared mythology for an eager audience.

You could also argue that, in terms of cultural reach, yesterday’s Holy Bible functioned a bit like today’s One Piece tankōbon (manga book). A story everyone knew and shared, even if the initial presentation was spiritual rather than recreational.

As printing spread in the 18th and 19th centuries, illustrators carried the tradition into new realms. Engravings for Grimm’s Fairy Tales or dramatic depictions of Shakespearean plays filled books and newspapers, giving classic folklore a fresh visual life. These creators were celebrated, not scolded, for bringing beloved stories to new audiences.

Before the word “fandom” existed, artists were already thriving by drawing the icons of their era - proof that the impulse to honour and reinterpret popular narratives is centuries old.

Modern Mythologies & the “Death of God”

When the philosopher Friedrich Nietzsche declared in the 19th century that “God is dead,” he wasn’t celebrating atheism so much as observing a cultural shift: traditional religion was losing its central role in giving people meaning and moral direction. In the vacuum that followed, new kinds of myth-making stepped in.

Today, vast pop-culture universes provide many of the same functions that scripture once did. Star Wars, The Lord of the Rings, the Marvel universe, Dragon Ball - each offers epic narratives of good and evil, loyalty and sacrifice, personal growth and cosmic stakes. Fans memorize lore the way medieval villagers memorized parables. Quoting Yoda or Gandalf can carry as much symbolic weight in some circles as a Bible verse once did.

Fan art is more than a passing gimmick. It becomes a kind of modern devotional practice. Events like Comic-Con are the pilgrimages; cosplay the ritual garb; and sharing art online is the digital equivalent of creating illuminated manuscripts. By drawing these beloved characters, artists participate in keeping the myths alive and relevant, not unlike Renaissance painters reimagining scenes from the Gospels of their time.

The Legal Landscape

The moment an artist creates an original drawing, painting, or digital piece, it’s automatically protected by copyright. In most countries that protection lasts for the life of the creator plus 70 years. When a work is produced as a “work for hire” (as is typical in film, animation, or comics owned by a studio), the term is even longer - 95 years from publication or 120 years from creation, whichever is shorter.

As an artist, I’m grateful that my work is legally protected and that the fruits of my labour can’t simply be stolen. In fact, this protection just recently allowed me to take legal action and be awarded settlement against a business owner who stole and used my Day-of-the-Dead artwork verbatim.

Large entertainment companies guard their properties fiercely. Disney is the most famous example: it successfully lobbied for the 1998 U.S. Copyright Term Extension Act - often nicknamed the “Mickey Mouse Protection Act” - which added 20 more years to the standard term, ensuring that early Mickey cartoons stayed under Disney’s control. I can appreciate Disney wanting to retain the rights to it's original cartoons since Mickey has always been synonymous with Walt Disney and the company.

However, when a large corporation hoards the rights to an IP that has grown to biblical proportions, this isn’t about protecting an original creator anymore. It’s about monopolising the original creation and exploiting its fandom to enrich distant shareholders. That’s something I take issue with.

Fan art exists squarely in a grey zone:

For personal use and sharing online, fan art is generally tolerated. A drawing posted on Instagram, hung in a bedroom, or used as a phone wallpaper rarely attracts legal action.

I wouldn’t put it past some unscrupulous corporation to one day try to monetise a child’s Pikachu fridge drawing, but thankfully, for now at least, policing this kind of use is virtually impossible.

Personally, I don’t mind if anyone creates fan art of my original creations, or even takes photos of my work, prints low-resolution versions, and displays them at home. And this is despite the fact that I make my living selling art prints- albeit high-resolution, signed editions on quality card stock.

At the end of the day, I’ve realised that not everyone can afford art. And with pretty pictures now virtually free thanks to AI tools, the true value of my work lies in the exclusivity of owning a signed edition and in supporting me (a real, individual human being!) as an artist to continue creating.

When it comes to selling fan art commercially, this is often technically considered an infringement on copyright. An example of merch containing someone else’s characters is typically considered illegal unless the artist has a license or the work clearly qualifies as fair use. For example, a transformative parody or commentary artwork can be argued to not break copyright.

Exactly at what point art is considered “transformative” for example is vague and subjective.

There have been a few headline-making clashes:

Lucasfilm v. Ainsworth (2011): A British prop maker selling replica Stormtrooper helmets faced a long legal battle. UK courts ultimately ruled in his favour because the helmets were classified as industrial design rather than art. A rare outcome and not a general precedent for fan artists.

Blizzard, the studio behind World of Warcraft, Overwatch, and other popular games, is famously protective of its intellectual property. Over the years, it has sent countless cease-and-desist letters to individuals and small businesses selling unlicensed merchandise - everything from T-shirts and posters to figurines featuring its characters.

Japanese doujinshi (fan-made manga) markets use a contrasting approach. Manga publishers often allow small-run fan comics to be sold at events like Comiket (a doujinshi convention), viewing them as free publicity and a way to nurture future professionals. An approach I whole heartedly agree with.

The most interesting case features the pop-artist Andy Warhol:

In the 1960s and beyond, his work frequently involved taking existing images - photographs, advertisements, or celebrity portraits, and transforming them into art. Famous examples include his Marilyn Diptych (1962) and his series of Campbell’s Soup Cans.

While some photographers and original image creators sued Warhol for copyright infringement, courts often sided with him.

The key reasoning: Warhol’s work was transformative. He wasn’t merely copying the original photographs; he reinterpreted them, changed context, and created something new with a distinct artistic expression. This distinction - between straight reproduction and transformative creation is central to the legal concept of fair use.

To reiterate: Warhol literally copied a trademarked soup can and sold the painting / prints for profit. He also took a photographer’s image, adapted it ever-so-slightly, and the courts still considered it legal. In the world of fine art, it seems you can repurpose copyrighted content with only minimal transformation. 

These precedents are often cited in debates about fan art: if an artist can transform a character or image meaningfully, they may have some legal protection, but it’s risky, and commercial sales can still attract lawsuits.

Perhaps the video game equivalent of Warhol's example might be taking a World of Warcraft screenshot, printing it onto a huge canvas after adding a filter, and suddenly you have a “transformative” work of art. But, common sense tells me the legal system would side with Blizzard here.

Curiously, even if I pushed this example further, creating an existing Warcraft character with a completely unique style, pose, and colour palette - therefore transforming the original concept far more than Warhol ever did, and then sold it on a mouse mat on Amazon, I’d still likely be liable for copyright infringement. In other words, the same creative act is treated very differently depending on the medium and market.

Warhol’s victories highlight the tension at the heart of fan art law: copyright exists to protect creators, but transformative reinterpretation is sometimes recognized as legitimate artistic expression, even when it borrows heavily from existing material.

Economics and morality of IP Control

Franchises like Star Wars, Dragon Ball, and Pokémon aren’t just meaningful and beloved fictional worlds - they’re multi-billion-dollar machines. Corporations guard these properties fiercely because the financial stakes are enormous.

• Disney earned about $4.9 billion in 2024 from “Consumer Products & Licensing” alone.
• Bandai Namco pulls in over ¥120 billion (≈$800 million) each year from Dragon Ball merchandise.
• The Pokémon Company’s lifetime revenue has surpassed $90 billion from games and merchandise combined.

With numbers like these, it’s easy to see why corporations defend their IP empires so aggressively. Yet it raises a harder question: why should an independent artist selling a handful of prints be shut out of even a microscopic share of this enormous cultural and economic pie?

Many fandoms today hold as much meaning for their communities as ancient myths or religious stories once did. But unlike those shared cultural stories, modern pop-culture fictions are locked inside corporate portfolios. A multinational conglomerate, often run by executives far removed from the art itself, now decide who may create or profit from these worlds, not for cultural stewardship, but simply to maximise revenue.

Historically, artists painted saints, deities, and epic heroes without needing a license. Now, when our spiritual and narrative touchstones are company assets, creative expression and a means for artists to generate income is constrained. Telling artists to “just sell original work” ignores a market dominated by well-funded franchises that command attention, nostalgia, and marketing budgets individual creators can’t match.

Artists bring imagination, skill, and cultural value that exceed cold corporate interests. Yet when meaning-rich universes are treated purely as assets, the very people capable of birthing the next great mythology are left with fewer ways to sustain themselves.

The Case for Fan Art

Fan art is becoming a vital part of today’s creative ecosystem.

It’s a gateway for emerging artists - Reimagining well-known characters attracts attention and helps new artists build audiences that later discover their original work.

It’s part of community building - Fan art reinforces shared enthusiasm and keeps franchises vibrant long after official releases fade. For this reason, some companies recognise the fandom surrounding their IP and actively promote it. In the case of fans then selling the occasional fan art print, they might even avoid interfering in order to appear as though they aren’t some bullying tyrant, going after the little guy and causing backlash within the fandom community.

It creates a point of cultural conversation. Transformative pieces - gender-swaps, mash-ups, stylistic reinterpretations and so on all add fresh meaning and can stand as original art in their own right.

Many professional creators quietly welcome it. Game publishers have been known to buy fan art prints of their game at conventions and manga ka (the original artists) post fan art tributes to their creation to social media. This is great. It helps provide artists the opportunity to monetise their talents. sustain a living and finally cash-in on the thousands of hours practicing their craft. The problem with individual artists selling fan art often occurs once a company becomes large, and super invested enough in their guarding their acquired property at all costs.

Fan art, in other words, is less a legal nuisance than a living dialogue between fans and the worlds they love.

The Case Against Fan Art

At the end of the day, commodification of a creative idea or work now exists. The ability to sell one’s idea or creation to a larger company can benefit the original artist and founder. And even be the difference between them making a living or not.

Selling prints or merchandise of another company’s characters without a license is, by definition, a copyright violation. Without any legal protections, it would be difficult for anybody to create anything new, for fear of it being ripped off the next day.

Sometimes fan art can overshadow the artists who are focused on their originals. If online marketplaces are overflowing with fan art, this makes it harder for the artists with fully original creations to stand out or earn a living. Surely, they deserve customers without needing to piggy-back off existing fandoms?

Brand dilution and offensive uses - Rights holders fear their characters could be associated with low-quality work, explicit content, or messages that damage the brand.

From a company’s perspective, tight control protects both revenue and reputation. Even if they quietly tolerate small-scale fan art sales, they reserve the legal right to act when a fan creation crosses the line.

Where This Leaves Artists

For working artists, the fan art landscape is equal parts opportunity and legal hazard. Here are some practical, non-legal tips to navigate it:

Go “inspired by” or parodic: Create pieces clearly transformative: unique style, new composition, or commentary. Parody and satire can qualify as fair use in some regions.

Keep it small and local: Limited-run prints at conventions or direct commissions are less likely to draw legal fire than mass-produced online merch.

Blend with public domain: Mash-ups with classic myths, folklore, or works whose copyrights have expired (Shakespeare, Greek myths) to add originality while sidestepping claims.

Use fan art as a funnel: Draw beloved characters to attract attention, but always showcase and promote your own original IP alongside them.

Final Thoughts

Fan art is both homage and potential infringement.

It keeps beloved mythologies alive, yet it also shows how extended copyright terms can stifle creativity.

Artists walk a tightrope: without fan art, fewer creators might never build an audience or sustain a living; without copyright, corporations fear lost revenue.

Personally, I value copyright for safeguarding inventors and original creators from outright theft. But it’s hard to care about corporate profits or the wealthy investors who over-commodify and monopolise fandoms. I understand a company protecting its assets from direct competitors. Yet when big corporations crack down on individual fan artists - people offering fresh, imaginative takes on beloved characters - it rarely feels just. After all, without artists there would be no fan-favourite properties to protect, so why target the very creative class that built them?

The vast majority of aspiring professional artists are not wealthy, nor are they in it for the financial reward. Greed or power is not the incentive. Rather, they want the opportunity to engage in their passions, to bring creative and aesthetic value into the world. Some want to create fan art for the love of it, others as a means to survive by utilising their unique set of skills. Perhaps I'm just speaking for myself here? But either way, we shouldn't be so quick to criticise and condemn those who create an original take on existing characters, or attempt to earn a living.

Transformative work isn't morally wrong and not even illegal in the correct context.

It’s crucial to distinguish between transformative fan art and outright image theft. That is to say, new creations built from the ground up with a unique vision, talent and skill; compared to stealing (or direct copying) and selling someone else’s art /image.

Transformative work enriches culture, builds upon and clearly differentiates itself from the source; piracy does not.

Unfortunately, online copyright infringement bots and licensing agents scouring the internet for offenders rarely care about that difference.

Much like the courts which eventually ruled that Warhol’s paintings and prints were transformative artworks in their own right, thoughtful fan art deserves the same recognition. As long as it’s clearly distinct, not traced, and not a direct reproduction.

Still, selling fan art always carries legal risk.

The most common outcome is simply a takedown notice, but there’s always a chance of being sued for damages and legal costs, which can become a stressful and expensive ordeal.

Perhaps legal enforcement should be somewhat nuanced and rank in severity depending on the crime:

1. Blatant piracy and theft,
2. Direct reproductions,
3. Cheaply produced AI generated content,
4. Slightly modified works (like adding filters),
5. And only then, transformative art if you insist on going after the independent, starving artists and fans!

Strangely, I've noticed fan art often gets flagged for infringement before direct theft. The uniqueness of the fan art stands out. Where as Bootleg sellers routinely peddle what, at first glance, appears to be non-modified, licensed art, and copyright agents often assume (wrongly) that a licence exists. Or the seller simply lies about having one. In reality, it would cost hundreds of thousands of dollars to legitimately purchase a range of licences, and it’s absurd to think a small Etsy shop selling low-resolution, poor-quality T-shirts for example has paid for them.

Even if we don’t consider fan art transformative, perhaps a solution for selling it would be to offer artists an affordable, streamlined licensing model or profit-sharing system. An agreement that allows independent talented creators to contribute to the franchises and fictional worlds they love without fear of takedowns, while rights holders still receive their share.

It would make more sense for a company to gain a modest cut -say 10 % of each sale, than to pay out money hiring agents to issue takedown requests, where ultimately no one benefits.

Lastly- the take home question to consider:

I hope this gives a little more nuance to the issues surrounding fan art.

If you’re wondering, “should I create a business to sell fan art?”, the answer is no.

Firstly, you should always respect the law locally, or international. Secondly, despite arguments made for fan art potentially sitting in a legal grey area, dealing with any potential legal proceedings is not worth the hassle. You might be morally justified and even legally justified in some courts, but often the companies pursuing action against artists are mega corporations that have unlimited legal budgets. You do not. You or your lawyer will likely be unable to compete with theirs.

However, personally I believe certain fictional fandoms have become a huge part of modern culture. For some, they carry a depth of meaning and significance which has, to some extent, outgrown the idea of them simply being an entertainment commodity to capitalise on and profit from.

Therefore, is it right the a for a multi-trillion-dollar fortune 500 company to buy up everyone’s favourite IPs, monopolise them and exploit devoted fans to increase profits?

And in turn, should the artist class be constantly put on the chopping block for creating art that may or may not be considered ‘transformative’?

Taking Stock of the Situation

Welcome to another honest blog post - where I discuss what’s really happening with my artistic career, rather than sugar-coat the situation in order to appear more professional and successful!

My goal is simple - go from being a part-time to full-time artist. But is that possible this year?

We're now well over the halfway point in 2025 - the year is speeding by. So have I actually made progress towards my goal? It feels like the right time to take stock: to look at what I’ve done, where I’m currently at, and where I need to go next. If you're also chasing a creative career, or just curious about how mine is going, I hope this gives some insight into the reality behind the art.

Let's start with this Website!

I consider this site to be my central hub. I direct people here when they ask about my art, commissions or after having bought my art or products at events.

It’s had over 4000 active users after 7 months this year. I’m happy it’s getting at least some traffic. Although I would discount at least 500 of the visitors - especially from countries like India and China, since they seemingly only visit in order to then try selling me some SEO package, or steal my content.

I’ve posted on my Blog thrice this year. There aren't enough readers to warrant posting more than 3 - 4 times per year. Plus, right now, and each 1500+ word blog post like this, still takes a large chunk of a day to write and post with a few accompanying images. I’m concentrating more on Youtube instead– using it as my current social media / content creating platform of choice.

The shop was recently updated with 16 new listings. I'm giving producing and selling stickers a try. Although, I must admit, sales of my products online have been extremely low this year. It's tough times trying to sell art or luxury items to customers here in the UK when so many are struggling to pay bills right now.

I often think about replacing my website with a whole new design, making it more focused around my shop. Selling is more important to me right now, compared to taking commissions or using it as a portfolio / online business card. I’ve been considering this for, maybe, 3 or 4 years! But I'm just not convinced it’ll make much of a difference so far as generating sales goes. I'd continue to sit on the idea until I think the time is right to act.

I'm making my own game!

Since no one was hiring me to work on their projects this year, I decided to continue with my own. A two-player fantasy card game, Total Blast.

• I gave it more play tests
• Refined the Rule Book
• Received several price quotes to manufacture and ship the game from China
• Finished off the 8 remaining art cards, which all needed polishing and then colouring
• Attempted to promote on social media (I'll discuss this more later)
• Gave it its own YouTube channel along with several promo videos
• Added it to the Board Game Geek Database

It looks great! And so much fun to play! But, finding people interested in signing up for updates about the game is proving extremely difficult. How do I spread the word that this is a good thing I’m trying to build and drum up interest? I tried posting about it on a few Facebook Groups and Sub-Reddits, but they mostly got deleted off the bat and considered spam.

Other than paid ads, I don’t have a clue how to generate interest or even get eyeballs on the project. Until I get a few hundred sign-ups, I can’t guarantee I’ll fund the game once it goes live on Kickstarter. Very Frustrating!

And so, progress with Total Blast has kind of come to a standstill. There are still a few little bits here and there to tweak, but everything hinges on knowing there will be customers interested in pre-orders.

Complete and Utter Social Media Burn Out

I posted on 30 occasions. Each time being a development update for Total Blast. The result- it seemed like a pointless exercise. It felt like each post was barely getting noticed, pulling between 0 and half a dozen engagements (like/comments/shares) per post. Not great, considering the fact my combined social media following is well over 65,000 people! 

To break this down:

Instagam: 33.9K followers
Facebook Page: 2k followers
Facebook Profile: 3.3K friends
Pinterest: 6.9K followers
Tumblr: 4.8K followers
Linkedin: 4.3K connections
X: 10.1K followers

After a month of daily posting on all my socials, guess how many I converted into Total Blast mailing list subscribers? Zero!

I appreciate most people follow me for the artwork, and me posting about a card game I’m working on each day may not necessarily be their cup of tea. But still - the levels of engagement my posts receive just makes posting feel like a pointless endeavour. I feel like I'm done with social media posting. Certainly, on my current social platforms, if discussing or promoting Total Blast. In the future I might:

1. Just post glossy, finished character art on my socials. Perhaps That will to generate interest Development sketches, photos and notices aren't cutting it.
2. For Total Blast, create entirely new social accounts and start from the ground up.

I’ve posted to my existing accounts several thousand times over the years, and it feels like it would be a shame to give up on that. But it certainly seems like I’m not connecting with an audience who is genuinely interested in my projects and artistic endeavours.

It's crazy to think just how much time was poured into social media posting, replying and commenting, when instead I could have been creating art or simply doing something else.

It just felt like this was something I had to do if I ever wanted to build an audience and potentially end up making a full-time living from my art. Maybe I still just wasn’t using the platforms the ‘right’ way? Or perhaps I should have waited until my artwork and products were better before attempting to show them to the world?

Growing My Own YouTube Channel

Platforms like Instagram seemed to be failing me, and in the face of an AI take-over, I felt as though I now needed to prove to the world that I’m a human.

And so, I continued uploading videos to YouTube. I’ve been consistent, posting up a new video at least once per week.

39 videos created this year so far, plus a few shorts.

The quality is getting better, and while I’m never going to be perfect in front of a camera, I’m actually proud of a lot of the content I’ve created for the channel: be it my own personal rants about struggles to make it as an artist, or tips to help fellow creatives. Perhaps It feels like such an achievement because I know just how much effort it is for me to be front-facing and put myself online? As a neurotic introvert, it's not easy to say the least!

I have a goal of reaching 1000 subscribers.

Although ideally, I want them to be active, dedicated subscribers. Unlike the 65,000 I mentioned earlier on other social platforms, which have seemingly all deserted.

1000 subs (along with increased watch hours) also means I can monetize the channel, and YouTube will then give me half the money they’re making via the ads being attached to my videos.

To be honest, I thought it would be easier to build an audience than it’s currently proving. I feel like my content is good enough to warrant at least 4-figure views, but breaking double digits is often just not happening!

I don’t expect a million views on a video, but I’m waiting for my bit of luck to strike. For my 1 video to “blow up” or at least gain the attention it deserves. I'm committed to continuing with it. But in the mean time, I’m finding it very challenging to pour hours into creating content, knowing that its target audience is highly unlikely to ever know it exists.

I'm Still Selling my Art and Taking Orders

Approx. 150 orders have been fulfilled for Art prints, T-shirts and so on. Great that I’m able to get some orders in despite my social media efforts proving to be more effort than they’re worth.

Worryingly, orders are down around a shocking 75% from 2022-2023, and I think that’s mostly due to the rise of AI art.

I’ll continue to take orders, since I have the art prints here and ready to go. And I’m using print-on -demand services to fulfil shirt orders as and when, so that I don’t need to keep an inventory.

I kind of enjoy packing orders too. It's a welcome break from the screen; to roll a print, pop it into a postage tube along with a flyer and attach the postage label! Sometimes you just need to low-cognitive overhead job to give you some respite! And, of course, it's always very fulfilling to know a customer bought your art. Out of all the artwork in the world, they choose yours! That's pretty damn cool.

Selling at Comic Cons

I've attended just one con so far this year (MCM London in May), and will possibly do another two. The bigger shows here in the UK are just about worth visiting. Smaller shows aren't really worth it any more since I have no idea if I’ll even make any money or break even.

With over 40 shows under my belt, it's got to a point now where they feel more like hard work. I'll never forget the first few times attending large comic cons- it felt magical and exciting! I would be buzzing every time someone wanted to chat or make a purchase. I still enjoy some of the interactions I have with customers. Although many positive feelings are now somewhat replaced with apprehension, as to how many sales would have dropped this year over last, based on current trends.

One thing I did was to create a bunch of stickers. 16 designs, based on designs I already use on Art Prints and Tees. I found a good supplier in China, and they certainly sold better than my How to Draw Manga books. I'm glad I tested them out. Of course, selling a few stickers here and there is never going to earn me enough to consider myself a full-time artist, but as a side project, it's worth having them to sell in addition to my other products.

Job Applications... And Rejections!

I brushed up my CV, and created a new mini portfolio PDF. It included just 10 of my best works with a little extra info. I sent it to several companies and agencies who were looking for an artist with my skill set. And I waited…

I didn’t result in anything. No interviews. No replies. Actually, there was one reply- to my application. It was from an agency that specifically asked to work with me. They replied just to tell me that they don’t want to work with me!

I became despondent and took a break from applying.

Creating New Art... Or Not!

Other than finishing off the Total Blast character artworks I mentioned earlier, I haven’t created a single new artwork all year!

I'm supposed to be an artist!

The ideas are starting to build up and overflow since I haven’t created anything new and original. I’m keen to work on some new things. But I thought it was better to instead push my existing content out into the world, and do the YouTube thing.

My thinking - if I create artwork, but without an audience aware of its existence, then what’s the point? I’m talking from a professional point of view. Actualising ideas is great, but that can’t happen until the bills are paid. I can’t pay the bills until I sell my art and merch, and I can’t sell my art until I’ve built an audience, or have access to interested customers. 

What Next?

I have to admit, I feel a little uncertain. Part of me wants to double down - keep creating, keep posting, keep pushing. Another part wonders if it’s time to change direction and simply take a break from pursuing art full-time.

I know I need to start making new artwork again, if only to reconnect with what made me love art in the first place. And I still believe in Total Blast - even though I’ve hit a wall when it comes to getting eyeballs on it.

I’m not giving up.

But I’m also trying to figure out how to work smarter, not just harder. That might mean experimenting with new strategies, rethinking how I use my platforms, or even taking a temporary step back from certain things that clearly aren’t working. One thing’s certain — I’ll keep sharing the process. The wins, the failures, the “not sure if this even matters” moments. And if you’re on a similar journey, I hope we can keep figuring it out together.

I want to be a pro artist!

Many kids grow up reading comics, watching animations and playing video games. At some point in their teen years, they're asked "what do you want to do for a living"?

So, they ask themselves, is there a way for their adult job to involve movies, games or the stories they enjoy? There sure is! - You could be compose music for video games, draw concept art for movies, write comics... The possibilities are endless!

Back in the 80s (when I was born), through to around 2020, a career in art and design seemed to be a tough, yet viable option. So, I went for it. I decided I was going to be an pro artist!

So, I got educated. Then found work.

From my late teens onwards, I spent 5 years in higher education, obtaining various qualifications such as A level in art, an advanced NVQ in Art and Design and a degree in Graphic Media. Back in the late 90s- early 2000s, people around me at the time said these were a necessity in order to get a full-time employed job. Were they right?

I then went on to sample various art-related jobs. I found work as: graphic designer, web designer, fine artist, freelance illustrator, and tattoo artist. I actually got paid to design and create things! Was I living the dream?

Although, as much as I hate to admit it, making a liveable amount of money with my artistic skills was seriously tough! While I did find work (some times), it was by no mean easy to come by, nor lucrative. What's more, it was especially hard to find the type of work I was more passionate about - creating anime inspired art.

I was determined to not only find a series of sporadic low-paying art jobs, but to turn my artistic dreams into a flourishing, sustainable art career. So I persevered.

From Accomplishments to Disaster.

During my artistic journey over the course of my 20s and 30s, I had many victories: I built my own websites from the ground up, I authored several best-selling how-to-draw manga books, a colouring book, created art for games, sold my artwork to hundreds of customers at comic conventions, occasionally receiving VIP guest invites to events to demo or exhibit my art.

I was proud of the things I'd achieved. But still, the flourishing art career eluded me. And after 20 struggling years scraping a living from art, Covid happened in 2020. This was a further blow to my artistic journey by putting the final nail in the coffin to my tattoo business. A venture I'd kept up, part-time at least, for over 10 years.

I decided that instead of tattooing, I'd focus on creating art to sell both online and at offline events. It was perfect timing and it started to work! Sales began increasing for the first few years and it looked like I might finally be on my way to making the artistic dream sustainable. Things were finally looking up.

But then, perhaps, the biggest disaster yet. AI became a thing in 2023. As a primarily digital artist, I could no longer compete with AI image generation algorithms, which could pump out an entire high-end portfolio of artwork in a single afternoon. My sales halved. The next year, they halved again. My predictions for 2025? Sales are likely to half once more!

As of 2025, I'm now in my early 40s and my life as a self-employed artist has gone from difficult to completely unsustainable. My entire work life has always felt like surviving on a sinking ship, frantically throwing out water with a bucket to stay afloat. Rarely having time to enjoy the voyage... But now things got worse- my bucket has a hole and meanwhile this metaphorical ship is caught in a relentless storm!

Where do I go from here?

I spent a long time wondering if I should be honest. Should I publicly admit to these struggles or fake the persona of a highly-successful, in-demand artist? After all, maybe a new client will stop by this website and want to hire me? Therefore, I'd best look busy, in-demand and of high-value! Right?

The truth is, it's been years since a decent, high-paying work enquiry landed in my email inbox via this website. While I've had my own art websites active and online for over 25 years (more than 99.9% of artists), right now this site receives only a handful of visitors each day. Since there's such little interest in what I'm posting here, I guess don't feel like I need to impress anyone anymore.

And while, I know my art is good enough to sell (since it does at live shows), this website's shop isn't particularly active. The occasional item sale every other week is simply not enough to pay the bills. It might 'look bad' to say the website is struggling to seduce customers into buying, but I don't think most potential customers would even read this post, or particularly care whether or not I was some big-name artist or a struggling nobody.

I've seen the internet evolve a lot in recent years. I've realised that, people are now bombarded with so much new content each day, that anything I write here will be forgotten within 24 hours. Sadly, this seems to indicate that I can't sustain a level of notoriety and significance among the changing online landscape, no matter what I post on this website. The good thing, however, is that it means there's now a new level of freedom to say pretty much anything I want. If I want to vent frustrations, be angry at a lack of success or look unprofessional. It's fine. No one cares!

Is Youtube the solution?

At the end of 2024 I decided to post weekly about my current plight on my Youtube channel. Knowing full well that I am horrendous at presenting video content and hate being in front of a camera! Youtube is my last ditch attempt to put out content into the world in attempt to build an audience so that I can continue the artistic journey.

Even though I only update this written blog 2-3 times per year, I much prefer writing to speaking! But, like I say, almost no one is reading this stuff. Alternative social networks like Instagram completely dried up for me too, so I figure I'd better start making videos or otherwise my online presence will completely vanish.

My channel is there to discuss how to / if I can make a living as a fulltime artist moving forward. I've given myself until the end of 2025. If I can't figure out a way to make art pay a living, it'll be an end to a 25 year long journey.

2025 so far had been... difficult.

While I'm still in the swing of venting my frustrations, please let me continue. This year is a disaster! Many back-to back disappointments. I'm going to list them in case anyone else is crazy enough to try making it as an artist in 2025, so that they know what they might be up against!

• I've spent 52 out of 70 days so far ill with not 1, not 2, but 3 separate flus! As a freelancer, this is not good news! Time out recovering means no time to work / earn an income. There is no sick pay, no health care. Or even the option to go to work while unwell, doing the bare minimum and still get paid for the day regardless.

• My laptop kept freezing and eventually wouldn't start. I couldn't work until it was resolved. It took many full days for me to fix. At least that I didn't need to buy any new parts, as initially expecting.

• I applied to sell with the online art gallery/ retailer: 'Art Finder'. - They said no.

• I wrote to a number of illustration agencies to ask for representation. - Most didn't reply. One said no.

• I applied for several full-time related jobs via LinkedIn, e.g. creating game assets for E-Slot and Casino games. I even tried several cold emails to similar companies. - Barely received any rejection replies and no interviews.

• After having built up a few decades of  digital art experience, I thought I'd try offering Photoshop Art Tuition to students via crowd sourcing. Even with the first lesson given for free! - No enquiries.

Art Grants

I discovered a potential opportunity- Art grants. Arts council England offers up to £12,000 to level up your art business. This was just what I needed!

I literally spent days crafting the perfect application, detailing all the things I would do to help get myself overcome my current predicament; coaching, building a new website, creating a new selection of works, market research etc. I waited. Months later, I received a reply. "No". Since I had a chance to apply one more time, I tried again. I studied previous successful applications and adapted mine to fit, I went through my entire application form with a fine-tooth comb making sure it was spotless- that I put forward a compelling case, that every penny I asked for would be accounted for and worthwhile, tangible deliverables would be ready to show after finishing my levelling-up process.

"Someone has to get the grant, so why not me?", I thought. Again, the answer was "No". I was disappointed and confused.

I did all I could to put my best foot forward. It wasn't enough. Instead grant funding was given to projects such as "Research Trip to Nashville to explore Queer Country Music", "Exploring Alexithymia as an Autistic Arab Writer" and "LGBTQI+ Zimbabwe portraiture"!

You know what I learned? 20 years of struggling to make it as an artist, 20 years of practicing my craft and sacrificing a stable lifestyle without ever asking anything from anyone, until now. And then I'm basically told, "Fuck off you're not woke enough to be an artist"!

Winning Awards

On a positive not, I am now officially the 2024 UK Manga artist of the year!

It's true. But, to be honest, it's not really positive - it's more like a scam.

"Lux life magazine" contacted me to tell me I'd been first, shortlisted, and then second, that I'd won a so-called 'prestigious artist award'. I was now UK Manga Artist of the year. Apparently!

They then they wanted my money to make it 'official'!

I learned that, basically, it was one of these 'pay-for status' awards whereby some random entity sets itself up, puts on an awards event then charges people to be a part of it! On this occasion, I was curious to find out if I could still receive an award before the hard-sell was inevitably introduced.

While I did receive an award, I wasn't featured in their newsletter or whatever. And you know what? I don't care. No one cares. No one in the history of humanity has ever gone to a luxury lifestyle magazine to find out which UK manga artist is worth paying attention to this year! And ironically, I've only ever produced about 6 pages of manga (comics) in my life! None in 2024.

As I mentioned in my last blog post, it's hard to know what to do next. Both in terms of, "what to draw" and how to make a living from the only thing I know- producing art. So, in the meantime, I'm working on my personal project to create Total Blast- my 2 Player head-to-head card game. Both that and YouTube are how I'll be investing my life this year.

It's all about promotion. Can I promote my game? My art? Me as an artist with a set of unique experiences and back-story? Time will tell.

The 'Choosing what to create' dilemma

You want to make something. You sit there in front of an empty canvas, a blank sheet of paper, or digital file. What do you put on it?

There's an infinite amount of potential colour or line combinations you could create. And even if you have something in mind, like a drawing of your pet, there's endless styles, perspectives, and ways of taking on the task. Making the perfect choice and taking the most correct path is impossible. There is no correct path.

It seems like you have three choices:

1. Wait patiently for your internal muse to inspire you.
2. Start doing something immediately and hope for the best.
3. Get overwhelmed at your limitless ideas and possible directions to go in, subsequently having a complete meltdown.

I tend to do a combination of all three! Although I wouldn't consider them much of a choice. Sometimes it just depends where you're starting from. For example, if you're in the habit of focusing and creating on a daily basis, starting on the next thing isn't going to be as taxing compared to when you've had a long break away from it. Getting back into the habit to begin with is often half the battle. Knowing the general direction you want to head in also helps.

But what happens when the muse has left you, the goal is unclear, and overwhelm is kicking in?

Right now, I'm at a point where I don't know what to do for the best. Both so far as knowing what type of art to create, and also what steps to take in order to survive financially.

I'm supposed to be a professional, yet I'm stuck

Over the years, I've created thousands of artworks, graphics, and illustrations. Identifying as an artist is a huge part of who I am. Therefore, shouldn't it be easy to know what to do next?

This year I've begun feeling like "I'm done." Or that "I just don't know what else to do."

When it comes to ability, there's always room for improvement. I'm nowhere near the level of skill or talent I'd wish for. No artist ever is. But I feel like I've somewhat plateaued. Reached my limit. Peaked. Or perhaps gone as far as I am willing?

When I was a kid, I used to love 80s and 90s video and game box art like the ones above. I'd often draw my own sci-fi and fantasy characters based on this kind of stuff. It was great! Even though I was a million miles away, skill-wise, it didn't matter. I used to wonder, "Maybe one day I'll be pro and good enough to create box art for games like this?"

I'm sure creating art for relatively unknown B-movies and obscure games back then wasn't a glamorous job or particularly lucrative. No doubt I would have been better off training to become a doctor or something. I didn't know. I didn't care. If I could just create artwork on the same level, I would have achieved my life's dream!

Fast forward to 2024, and I'm now at a point in my life where I look at these and think, "I could actually do that!" Although the first cover in particular (Mirai Ninja) is still pretty badass!

Granted, the bar for this genre of art has risen massively over recent decades. I often see a million other pros out there producing next-level, mind-blowing images. But the goal was never to be the greatest of all time. I just wanted to feel like my artwork was on par with the box art I used to admire all those years ago. Now I do. See examples below. Considering where I started, the personal obstacles I've had to overcome, and my lack of genuine talent, I'm seriously proud of what I've managed to achieve.

I've reached the goal. More or less. Although imposter syndrome kicks in often and I start to doubt myself. Am I actually any good? Was it all just luck? I still don't really know what I'm doing!

So why am I concerned, frustrated, confused, and lacking direction? It must be because I've finally reached a huge milestone in my life, and yet at the same time, surviving as an artist got harder!

Let me explain my current situation

There are a million different art styles I've fallen in love with over the years, but for the most part I ended up going down the comic and anime route. Particularly, recent years were spent concentrating on anime fan art to sell as prints at comic conventions and online. It took a few attempts to get right, but eventually people started buying my work. It was awesome. I'd gone from producing How-To-Draw Manga books, which required hundreds of drawings, thousands of lines of text and several months of my time, to making single art prints, which sold at a similar price point to a book. And despite young talent rising all the time, I could still compete as a now 'old-skool' artist in his 40s.

Then it went bad. Even though my skills and product range are better than ever, selling art has become much, much harder. Due to increased competition, the rise of AI, and soaring living costs, I've seen my sales decrease by 70% in recent years. Paying bills and making a modest living solely from art has become difficult, to say the least!

I could continue to push out a new fan art piece every so often, but there's no way adding more of the same would get sales back up by 70% or beyond. Even if I were to double my output.

How should an artist spend their time?

To reiterate the title of this post, what the hell are artists supposed to do? What is the best way to invest our time? What should we be creating? How much time should we devote to the different aspects of our business, i.e. making, sourcing materials, promotion, and so on?

We live in an age where the answers to these questions are never far away. Ask Google or Youtube "how to be a professional artist" or "how to run an art business," and you'll find plenty of advice. But will that advice help YOU? The trouble with advice is that it's either middle-of-the-road general statements that anyone with an average IQ could have worked out for themselves, or it's specific to the advice giver's very particular situation.

What I personally want to know is, where do I, Ben Krefta, go from here? Given the fact I've done a load of stuff and lived on this earth for over four decades, what should my next move be?

I tried some things

They said to create a website. So, I invested several months learning graphic design and how to code and made a site. I then worked as a web designer for a number of years before making myself a new one.

They said get on social media, so I got on Facebook, Instagram, Twitter/X, Pinterest, Tumblr, Deviant Art, Art Station, Cara, Youtube, and TikTok. Missed SnapChat, but that's fine with me! When a following didn't present itself, they said to post consistently and engage with your followers. So I did, for years. I posted thousands of times and responded to thousands of posts and comments.

They said sell your products online. So I created Etsy stores, Amazon stores, an eBay shop, and a WooCommerce store on my own website. I also added several thousand products to print-on-demand sites like Zazzle, Society6, Displate, and Spreadshirt. (Check out my DesignbyHumans article for more about this.)

They said get offline and exhibit at comic conventions. By the end of this year, I would have attended 42 of them.

Despite doing what was expected of me, there was never a time where I felt successful. Where I had the opportunity to spend my work time doing the jobs I wanted, or earning enough money to keep a roof over my head and pay the bills. The inevitable consequence of that is to feel cheated, like a failure, that something went wrong. Maybe I was too dumb to notice my shortcomings? Maybe the world is against me!

I may not feel successful as a person overall, but I appreciate the fact I've had successes with the endeavours listed above. Without my first website, I would have never landed my first, albeit low-paying book project. Without setting up the stores, I wouldn't have sold over 5000 art prints or print-on-demand products. Increasing my follower count to 50K across my various socials probably even helped validate my application to comic cons and events.

What next

I am still learning what the hell I'm supposed to do. Although at this point in my career, I'd hope to continue pursuing selling my art in some capacity, as opposed to taking on work for hire.

Right now, this means needing to sell hundreds of prints every month in order to pay the bills. Yet anime fan art, at least in the style or to the standard I've been producing, no longer sells. Continuing to do the things I've been doing up until now simply isn't working...

I ask myself, "Why create another fan art to sell, if virtually no one cares? Why invest work hours into maintaining a website or social media presence if it can't generate a living?" Sure, there's nothing wrong with making art or posting online as a hobby, but this isn't a hobby for me. My hobbies are rock climbing and video games. Art is one of the only 'practical' skills I have, so I'm desperate to find a way to make the most of it and provide value to the world.

I'm trying to work out if the things I've attempted just need tweaking and improving, or if a new direction is necessary.

It seems clear that the content (the images I'm producing) or products (e.g. prints and t-shirts) I'm offering aren't quite hitting the mark. People still buy my artwork at events, or online, and I'm fairly certain there are future customers out there who'd love to get their hands on the things I'm producing. If only I could get their eyeballs on my art. Although, for the most part, the product range and certainly the content needs a fairly drastic change.

As for the promotional side of things, I'll need to try a new approach also. Social media posting, blogging, vlogging, or running ads like I have been isn't effective when it comes to selling. The competition is relentlessly grabbing attention with click bait, catchy hooks, psychological manipulation, or finding new ways to exploit a platform's algorithm. Meanwhile, half my posts are just 'me showing a thing I did'! I'm coming to terms with the fact that a pretty illustration or artwork is just an AI image prompt away. And so, now you need to combine the presentation of artwork with entertainment, education, or human connection.

This might all sound obvious, but I grew up believing in the "Build it and they will come" philosophy. I thought if I could just draw 'Rotox' (see image above), I'd be set for life! Perhaps if you or the thing you do is phenomenal, that philosophy still holds true. For the rest of us, it seems we need to work a little harder. And smarter. I've arrived a little late to the party, and there's a lot of catching up to do.

From here, I'll start figuring out how much time to devote to creating new projects and products and then learn how best to promote them. I'll update in future posts, so stay tuned.

Life of an artist in 2024

It's been a while since I regularly sat down with the intention to create new artwork. Strange, considering the fact that I present myself as a professional artist. Although being a modern day commercial artist means not only creating art, but also doing all the jobs surrounding the sale of the art. This includes: initial market research to help decide what might be popular with customers; promoting art via social media and other channels; creating sales pages online for each product; attending shows and events to connect with customers back in the real world; or packing, posting, and resolving issues with online orders.

Basically the business of selling art takes up so much time that creating art becomes secondary. This doesn't seem right. People don't become artists because they like selling and performing admin jobs. Most artists create art because they have ideas they want to express or to share their own aesthetic sense with the world.

Who values the artist?

The trouble is, the world doesn't properly acknowledge and reward creative types. When a best selling book is written, the publisher earns more than the author. When a chart-topping song is released, the record label takes the lion share. When art is sold in a gallery, typically the gallery takes a 50% commission, yet the artist pays for the materials used to make the piece. When a collaboration between talented writers, musicians, and artists creates a box-office smash movie, it's the producers and studios that cash in. Am I wrong in thinking people with money make money by exploiting others' creativity? Do movie studio shareholders care where the money comes from? Or about the comparatively starving artists paid an insignificant sum to generate them a huge pay day? Does anyone care?

It's true that there are creatives who made big bucks. Michael Jackson, Pablo Picasso, and Agatha Christie are listed as all-time best sellers in their respective fields. Each generating hundreds of millions of dollars. And many creatives alive today are comfortably living off of their artistic endeavours. Although I'm not sure people realise that for every success story, there are thousands who tried and failed through no fault of their own. I've personally met hundreds of them.

Why am I mentioning this? Because I hate injustice. Why become an artist and spend years devoting one's life to a creative pursuit, perhaps sacrificing luxuries or even basic needs? It would make far more financial sense to pursue a job requiring far less skill and time investment. Of course, if you're creatively inclined, money isn't the goal. But if artists weren't undervalued and could at least pay the bills, that would be great. And in my case, I'd love to be able to afford paying a team to run the admin side of my creative enterprise, allowing me time to do the job I signed up for. Perhaps I'll get there eventually?

I don't want to sound bitter. Instead, I hope to raise awareness about the plight of the many skilled artist friends I have who bring beautiful creations into the world yet aren't adequately compensated. Also, I'm a realist who thinks it's useful to make a counterpoint to the typical go-getter 'you can do it' advice other successful artists will espouse. Sure, that's what people want to hear. It's optimistic and inspiring, but naive. Making a living from one's artistic endeavours is tough, and for some, it will be an impossibility. Let's not pretend otherwise. 

With that said, I am an artist, so I need to create things. I have 🙂

Three things I've been working on:

For the most part, I've been thinking about anime fan art. I'll be attending a few upcoming comic conventions and wanted to offer up some relevant character art. I thought it would be cool to show a few progress shots, going from the mid-way point to the final, finished article.

Here's Senku from 'Dr Stone'. It's one of the greatest shonen manga / anime series ever made. Also it was originally drawn by artist Boichi, who's got perhaps the most bad-ass style in all of manga. My typical workflow starts with sketch, which I then ink to replace the sketchy drawing with smooth, neat outlines. These are filled with flat colours. Then I indicate where the shading will go with a darker tone, which gives it an animation cel look. I could leave it there but I always want to add smooth rendering to really make things pop!

Here's Gon and Killua from 'Hunter x Hunter'. As with Dr Stone, Hunter Hunter is top-tier shonen anime/manga. And I'm not the only fan- did you know the original author of Hunter x Hunter Yoshihiro Togashi gained over a million followers on X the day he opened an account! Often the term "fan art" is simply used to refer to art created by other artists of existing characters. The "fan" part isn't always true of some artists, but I truly am a huge HxH fan, so was happy to pay tribute to such a masterfully created story.

Nami from probably the most popular anime series to date, One piece. After having watched 1100 episodes (yes, a crazy amount), I thought it was about time I created another One Piece artwork after Zoro. I tried to incorporate Eiichiro Oda's style, and at the mid way point I was concerned with it. Maybe it just needed more purple (my favourite colour)? 😁 I continued refining the shading regardless and am now happy with it.

When I was a kid I loved air brush art. Maybe it was something to do with being an 80s baby? All the book covers and video game covers I loved back in the day had that smooth blended 80s airbrush look. When I found out you could recreate it using Photoshop back in the late 90s, it became my go-to art style of choice. Even when I experiment with different line styles, or face styles, I think the smooth, gradients and blends at the rendering stage help tie my digital portfolio together.

I'm doing another tidy-up of my gallery

It's never an easy task deciding which artworks stay and which ones leave the gallery. There's usually at least one thing I still like about every image I've created.

When I was younger, I guess it's fair to say I had a small degree of aptitude when it came to art creation, but I've never been a naturally gifted genius. Creating each piece meant relying on a lot of grit, determination and trial and error over time to get artwork to a level where I was happy with the result. And therefore, removing any image from the gallery, effectively letting it die, always feels like a difficult job.

But with each passing year, my art gets a tiny bit better. I can see minor inconsistencies or errors with early work which bug me. And I ask myself, why am I presenting this as a representation of my capabilities?

Bye Bye Witch

Firstly- I created this anime witch art in September 2003 - 20 years ago! I'm amazed it stood the test of time, while many other artworks of that era had since been removed from my galleries. The face could use some tweaking and the background needs some work. There's a few other bits I'd alter to bring it up a notch. Having said that, I still like 85% of it. I'm going to keep it available for sale as a print, at least for now.

Goodbye to Cigar Girl

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Cigar Girl - a Chicano / tattoo themed character I made up in 2009. 14 years ago. At the time I wanted to become a tattoo artist. As an exercise, I'd check portfolios from local tattoo shops and try to re-create their tattoos while attempting to improve them [see photo]. In the end, I went to the shop this tattoo came from, showed them my portfolio and and asked for an apprenticeship. They liked my work, but didn't give me an apprenticeship. I ended up teaching myself to tattoo. A job I held part-time for around 12 years.

See ya Skull and Snake

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Skull and Snake – Again, this was a case of taking someone else’s art and attempting to improve it. The amazing thing about this one was the fact the original was created and drawn by an A-Level Art teacher [see egg-snake image]. Over the decades I’ve also attempted to land a job an an Art Tutor in a school or Lecturer at an art university. Other than a few short spells of 1-1 teaching and a one-off 2 hour Uni lecture whilst freelancing, I never managed to land a full or even part-time position. To be honest, I never understood how egg-snake man made it and I couldn't? For now I will have to impart my teachings through my How to Draw Manga book. This Skull and Snake artwork will, for the time being, stay available to buy as a print.

Goodbye to: Neon Pink Streak Portrait and Sci-Fi Sunset

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Neon Steak Portrait  - It was an experiment, using some digital textured media brushes. Normally my work is all smooth and airbrushed, so wanted to try out creating something more raw, textured and graffiti-like. It was quick to produce compared to typical art I make. It's a bit sketchy and think it shows. It was fun trying out a different style. Buy the A3 Print here.

Sci-Fi Sunset - Similarly, using textured brushes, I wanted to create something a little more painterly than my usual smooth, rendered blends. I like the colour scheme, so perhaps I can use the orange and purple again some day in a different, new and more polished artwork? Buy the A3 Print here.

Hello to: Geisha, War Memorial, Junko, DnD Girl, Zoro and Guts

I'm replacing the above artwork with 4 new pieces created within the last 12 months. I'd like to, at some point, present a closer look at each of these with their own blog post. For now, they've been uploaded into the gallery as stand-alone images. That now makes 45 portfolio pieces. Let me know what you think of these.

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Injustice!

You've spent days creating some awesome artwork and shared it with the world - as all beautiful art should be. Later you find it's been stolen! Used on a site or product without your permission. This is not right, fair or legal. It shouldn't be that some unscrupulous seller can just come along, harvest the fruits of your labour and convert it into their own personal revenue stream.

In this article I'll discuss the topic of art theft and what you can do to minimize the chance of falling victim to it.

Not a new phenomena

The topic of online image theft has been on my radar since the late 90s. I've since become an expert on the matter.

In my late teens, I created my first art portfolio website back in the early days of the web. The sole purpose was to share what I'd been working on with like-minded people. Having my own website was great. It started as a hobby project and went on to generate many fantastic opportunities. It allowed me to become a professional, paid artist which, would have otherwise remained a pipe dream.

I recommend everyone has their own site!

Although it was and will always be true that where there are creative people offering quality content, there will also always be poachers looking to take advantage of the fact.

The internet was a much smaller place 20+ years ago, which meant fewer 'web surfers' and smaller potential audiences. This fact didn't stop a handful of image thieves from discovering my art. Looking back, my early work wasn't particularly amazing, but good enough to inspire a few fans. And wherever there are fans, they will unfortunately be thieves.

I remember several occasions between the late 90s and early 2000s whereby I'd spot wannabe artists who'd taken a few pieces of my work and were passing it off as their own. Sometimes it would be a straight-up Copy + Paste from my gallery to theirs. Other times they might colourise the image or add some small detail to it in order to make them feel as though they were its author.

I remember at the time being furious to find someone out there was taking credit for the art I'd created. I'd email them; complaining, either asking them to credit me or take it down. Most of the time they'd just take it down. The shame of being found out was normally enough to make these people comply.

What do these people have to gain?

There are 3 different types of art thief- some amateur artists copy your work, others who take the art and pretend it's their own, and criminal thieves or infringe on your copyright to turn a profit.

Tracer/ Copier Art Thieves:

Years ago, the main concern from artists would be having their art copied or traced by another amateur and simply not giving credit. This still happens, but these days it typically doesn't worry me. A lot of the time it's just kids online wanting to emulate art for fun and aren't necessarily looking to trick anyone or profit from the endeavour.

Pretender Art Thieves:

Then there's those who steal another's artwork and pass it off as their own for kudos. If someone wants to fake being better than they are by trying to fool others, they are doing themselves more harm than they think. This type of art thief subconsciously reinforces the fact that they are a loser who's too lazy to put in the work themselves, so resorts to shortcuts- leeching off others and being deceitful in an attempt to gain external validation. Being that way will not get them far in life. They might get a few 'likes' on social media, but then how sad to feel as though your self-worth is tied to a social media platform's 'like' counter?

The damage this type of thief does to their own sense of self worth is often much worse than damage caused to the artist they've stolen from. My advice to this thief is to learn how to draw as good as the artwork you've stolen and taken credit for. At least then you wont have to know that deep down you're a cheat who's incapable of achieving great things. If you the reason you're stealing is because you simply can't draw despite many years of trying, then perhaps find something else you can get good at and focus on that instead.

Criminal Art Thieves:

Lastly there is the type of thief who wants to exploit and profit from an artist's efforts. These people frustrate artists the most. Especially commercial artists who understand the financial value in their work and want to be the ones profiting from it themselves.

Insane amounts of art Piracy!

We're more than two decades into the 2000s. The internet has become a big part of everyday life for most people. Art theft is hitting record numbers. Now, us artists do not have to simply concern ourselves with the occasional amateur taking credit for our work, but hundreds of illegal businesses could potentially be making huge amounts of profit via our art and designs.

I don't want to scare anyone to the point where they don't feel safe in posting their images online. As I say, I think everyone should have their own website and share their beautiful art with the world. To inspire others or evoke emotion from one's creative endeavours is one of the most virtuous acts one can perform.

However, we need to be realistic about the world we live in. Even during the last few years alone, I've discovered several hundred instances of my work being used on websites or products without my consent. I almost can't keep up! For every new artwork I create, there are multiple sellers seemingly waiting to pull it off the web and sell it on dozens of products. Clothing, cases, accessories, wall art or basically any item that can be printed on to. I've somewhat come to terms with it being part and parcel of being a successful artist. But that doesn't mean I don't take measures to protect my art or actively fight against the piracy of my work.

Why is there more art theft?

Here's a few reasons. I'm sure there's many more.

1. The internet has grown

According to Internet Live stats, In 2000 there were 17 million websites. Now there's close to 2 billion! Simply, the more sites and people using the internet, the more opportunity for web crimes to occur. There's now more art than ever to potentially profit from, and more thieves hoping to make a quick buck.

2. More countries have online access

Certain counties such as China do not share the same respect for intellectual property. Sellers in China do not need to battle with the moral or legal enforcement issues we have in western countries. And so for these people, the internet becomes one big buffet to pick from and exploit. Individual sellers in China can now access the west's online retail space via sites such as Ebay, Amazon, Alibaba, Wish or AliExpress. These sellers can afford to work for less and produce physical items at a lower cost. Therefore, making and supplying printed products has become a lucrative business.

3. The rise of Print on Demand

Print on Demand isn't new, but really began to take off between 2015 and today. Rather than need to print, stock and then sell hundreds of products in one go, companies now offer the production of single items at a reasonably affordable price. A seller doesn't need to risk printing 100 pirated t-shirts with the fear of losing the ability to shift them all if their operation gets shut down or their product is banned [Note- Retailers such as Amazon or Shopify do not typically ban blatant pirate sellers or their operations. Rather, they ban copyright infringed items and only when such items are brought to the attention of these platforms].

[blockquote quote_type="type2" author_name="Ben Krefta, Artist" width="100%"]"Where there are creative people offering quality content, there will also always be poachers looking to take advantage of the fact."[/blockquote]

10 Ways to Protect Your Artwork Images from Being Copied Online

At this time, there is no way to completely prevent your art being taken, reproduced or replicated unless it never makes its way to the web. A tiny percentage of artists might decide they won't ever share anything online and that's fair enough. But if your goal is to sell your work, promote yourself or services through your online portfolio and web presence, then posting your art is a necessity.

My feeling is that the more barriers and obstacles you put into protecting your work, the better. Some thieves will simply be deterred and instead go after images that are easier to attain.

1. Limit the size of your images

Smaller images can look fine on a screen- especially mobile devices. They only print small and when enlarged they become pixilated and grainy. This makes them unsuitable for printing onto products. Another advantage to uploading smaller images is that they load faster, plus take up less space on your hard drive or SD card.

Image size is determined by its dimensions and measured in pixels. For example, 400 x 600 px (pixels). An image's size can be described as it's 'resolution'. A high resolution image is one with large pixel dimensions such as 1000 x 2000 px or more. An image's pixel per inch (ppi) value can affect the print resolution of an image, which will be explained later.

How big should my online images be?

It depends who's viewing them and where they'll be used. If you've put together a slick, full-screen, online art portfolio to show clients, you might want to consider slightly larger files compared to something shared with the general public on social media. Consider who will have access to your art and who's likely to find it. If it can only be found via a direct link and your work isn't popping up on a Google image search despite your best efforts to find it, then it's safe to say that thieves will struggle to find it also.

◾ If the art is just going on social media, something like 700 x 700 px will suffice.

◾ When your work is featured in video content such as a Youtube video at high-definition 1080p, then you'll want to consider a bigger image to fill this 1920 x 1080 px resolution frame. At this time, stealing images from Youtube screenshots to later use on a printed product isn't common.

◾ For online use, I generally try to keep the widest part of an image at 900px - 1200px maximum.

2. Lower the print resolution of your images

Not to be confused with screen resolution, when an image is printed, it's pixels per inch (ppi) is taken into account to determine its print resolution and level of quality. [Note- for the sake of argument, I sometimes use the terms 'ppi' and 'dpi' (dots per inch) interchangeably]

Pixel dimensions and ppi are somewhat interlinked. If saving art in Photoshop, you can modify its dimensions and amount of ppi independently and under the setting: Image -> Image Size.

Lowering the image size and resolution before putting it online is one of the best ways to prevent art theft. However, some thieves will still attempt, and in some cases succeed, in selling low-res printed products to unfussy customers. As a consumer, you should always expect the artwork on any product you buy to look sharp as a knife. If it's not, ask yourself- Is this product counterfeit? And if so do I want to support counterfeiters? Less demand for low quality, stolen 'toot' = less reason for art to be taken in the first place.

Also, it's worth being aware that A.I. software exists which can attempt to up-scale low-res art into high-res sizes. It's not perfect, but something to consider.

3. Compress your images and save as JPEG

Most images shared online will be saved as a compressed JPEG file. This typically uses .jpg extension at the end of the file name. Even a large, high-res Jpeg won't be suitable for print if it's been super compressed.

You can vary the amount of compression applied to a jpeg. But the more compression, the uglier it looks on a display. You want to find a sweet spot where the quality will drop by a few notches but the image still looks decent on the screen. A Jpeg should still look fine on screen at 60-70% quality and also benefit from a smaller file size. Certainly, 100% quality shouldn't be shared online.

If I'm saving a jpeg for the web with Photoshop, I'll typically use it's 9 out of 12 quality setting.

4. Add a Watermark to artwork

Your digital watermark could be a logo or signature. Watermarks usually cover a portion of the art with a semi-transparent logo or word which makes the image less useful without totally obscuring it. 

I've found a 50-50 split with some artists advocating watermarks, while others think it degrades the quality of their work. Sure- a watermark will always somewhat interfere with the beautiful artwork beneath, and that's the point.

It's worth noting, anyone selling products containing watermarks is making use of 100% stolen art. Again, as consumers, we should resist the temptation to purchase these products so as to not support the pirates.

Amazingly, I once saw a stolen, watermarked artwork with a huge DevianArt logo over the top being sold on a garment by a printed hoodie business. The audacity to openly commit this act of fraud was remarkable. I would often troll their social media account asking why they steal all their art and don't pay artists for the privilege. It was an attempt to shame them into stopping the practice. Sure, they'd delete my comments and attempt to ban me, but when I see things like this, I can't ignore it. I don't like to see other artists being taken advantage of, whether they are aware of  it or not.

How do I know if I should watermark my artwork?

I've noticed certain styles and themes of artwork are more likely to be stolen. And so the need for a watermark is more important. Do you create fan art? Paint celebrities? Draw actors or characters from popular culture? Is your subject easy to cut out and paste on products, e.g. a character on a flat, plain coloured background? If so, consider watermarks. Something like a generic boat sailing on the ocean or a nice looking photograph of a local landmark is less likely to get swiped, even if it's a good piece of art.

5. Add a copyright notice or website address to images

Similarly to adding a watermark, you could add a copyright notice to your image. By default, any artwork created by an author grants them automatic copyright and ownership (other than in work-for-hire or other contractual relationships). However, adding a line of text to state the artwork has an owner may deter a few thieves and make people aware of the image's author.

Adding your website address to the bottom of an image could also deter and, in some cases, work as an extra benefit to the artist.  If it's the type of art that could get shared around a lot on social media, it could potentially earn you a few new site visitors. Or at least it gives no reason for anyone else posting the image to not give you credit for having created it.

6. Let people know you're the artist

Rather than adding copyright info or a web address to the image itself, you can always add this to any web page you post your images to. On social media, add hash tags including your name, company or brand in the description box. This helps mitigate the damage from social media shares where people don’t give credit.

A lot of people don’t understand the importance of giving credit and not stealing ideas. Add reminders explaining how giving credit helps you as an artist. These can be added to social media posts discussed on your blog or website. Anywhere you might post your intellectual property. No need to moan about it. Be professional and let people know why crediting artists is important.

7. Don't share the full image

You could decide to post just a cropped version of the full image you have. This isn't necessarily a great solution and the crop still has a chance of being taken, but in a few select cases, it could work as a deterrent.

8. Only post photos of your art

Particularly for digital artists and photographers, one thing to consider is printing out your work, then taking and sharing photos of it. It can be taken at a slight angle by tilting the work, placed in a frame or held up to the camera. Any ambient shadows or lighting stops a thief from being able to download a clean version of the image suitable to add to products.

I see this from a few Instagram artists I follow- they add overlapping pens or paintbrushes to their art before taking a photo. It looks cool. Or they shoot their work in different environments- perhaps with plants or other accessories surrounding the image.

9. Disable the right-click function

If you manage your own website and have some coding know-how, you can disable right-clicking on your images. Therefore not allowing the option to save them. Or you can make images only downloadable 'webp' files which means they'll only open in a browser. This makes it a bit harder for some people to save your images to their devices.

However, there are still several work-arounds to this. These include saving using a screenshot, searching through the website's source code to find the unprotected image location, or searching through their browser's cache of temporarily downloaded images.

10. Be easy to contact online

If you make it easy for people to contact you, they’ll be more likely to ask for permission to use your work. Mention your web address or how people can contact you on the sites you post on. If you don’t want to grant permission, you can still politely decline. On my site, the Contact page even has a drop down heading for 'Usage rights' so that I can address this topic more efficiently.

[blockquote quote_type="type2" author_name="Ben Krefta, Artist" width="100%"]"As a consumer you should always expect the artwork on any product you buy to look sharp as a knife. If it's not, ask yourself- Is this product counterfeit? And if so do I want to support counterfeiters?"[/blockquote]

Battling Art Theft

I appreciate the war on theft isn't the most uplifting of art-related topics. There are many articles and websites which promote posting your art online to gain exposure, or e-commerce sites promoting ways to display and sell your artwork with relative ease. However, it's worth being realistic and spending some time considering the 'dark side' of putting your work on the web.

How do thieves find my artwork?

You've created an amazing image and want to share it with the world. For the majority of web users, this will be limited to friends, family and a few strangers picked up on the way. You might share it on social media platforms or art-related websites. Most artists, or at least, aspiring artists, won’t need to worry about their work being ripped off because they're simply not famous or easy to stumble upon.

If you've managed to not only create beautiful art, but gained notoriety, fame or followers as well, Congratulations! You've made it into the upper echelon! But unfortunately, now you're a target.

Is your work is easy to find?

Perhaps you’ve considered Search Engine Optimisation (SEO) for your personal website? Or maybe you’ve shared it on a site which increased its findability with its own SEO? If your creations have proved popular with lots of shares, likes, sales and so on, they'll likely rise up and become easier to stumble upon. Is your work ranking high on a Google Image search? Or perhaps it is one of the first items to appear via a Pinterest search? Great! It's not easy for one’s art to gain that level of exposure. However, thieves now know it exists too. They also know that the cream of the crop rises to the top, so they're far more likely to see value in your digital offering/s.

The prime targets for thieves, however, are existing online stores. Thieves pay attention to the best sellers on each platform to determine which art will more likely award them higher profits later on. If you’ve been successful at selling your work on retail sites like, Red Bubble, Zazzle, Fine Art America, Society 6, Etsy, Amazon and Ebay, then you’ll need to understand the artworks on those products are at higher risk of being taken.

Some of these sites will put some measures in place to prevent art theft. After all, it’s in their interest to not have to compete against their own offerings on alternative sites. Unfortunately, for me personally, their measures have been insufficient. Most of my work is typically taken from various other retailers I’ve licensed with.

Thieves using stolen art to sell their own products is only half the story. The other half is made of thieves re-selling stolen artwork files to other manufacturers or Print-On-Demand sellers.

Many sellers don’t even realise they’re effectively handling stolen goods when they buy a ‘digital image pack’ containing hundreds or thousands of popular images they can make use of on their products. Well, I say they don’t realise, but you’d have to be pretty naive about copyright law to think a nominal price for a huge collection of royalty-free professional art is legit.

I give a tiny bit more leeway to sellers who buy existing products already containing your artwork from sites like Alibaba in China. It’s funny how such a huge corporation can float on the stock market despite being a huge hot-bed of blatant illegal activity. Don’t take my word for it; just search for your favourite, popular IPs and franchises to bring up pages of unlicensed goods for sale.

There isn’t a solution to the whole 'being found' issue- we want our artistic efforts to go noticed. And we want our art-based merchandise to become the next hot seller. If it does, art theft is simply an inevitable consequence.

Should I always bother protecting my artwork?

Some things aren't worth bothering to protect. For example, thumbnail images for your online gallery will be too small to do much with.
Quick sketches, work-in-progress images or idea posts don't have a lot of commercial value, although the idea of having a link back to your site or including a web URL on these may still be worth considering.

Realistically speaking, is your art good enough to steal?

For most of us, we wouldn't even bother sharing our art if we didn't see at least some value in it. But while we may love our creations, would an on-looker sit up and take notice? After all, there's already such a huge buffet of pre-existing, quality content floating around on the internet. Perhaps there's no need for concern if you're just starting out on your artistic journey. Maybe wait until your work is good enough to steal or you've found it's been stolen before you worry about putting in more measures to protect your portfolio.

Your art may be good, but could still be safe if there's already something very similar ranking high on search engines. Or other art that already has a proven track-record of generating sales on other online stores.

It’s a waste of time to even worry about art theft

When it comes to taking measures to avoid art theft, such as adding watermarks to your art, it will be up to you to decide if it's worth the effort. Some artists just want to post their artwork online, then move onto the next thing. They don’t want to hang around, wasting time to consider if or when it could get stolen and used without their consent. This is fair enough.

I understand that life is short and we don’t necessarily want to worry about the dodgy, objectionable practices that take place within our global society. It can be a waste of life if you’re forever chasing thieves instead of moving on to your next exciting creation. Many artist friends of mine say the battle against art theft is too emotionally costly. The stress that comes from seeking out instances of theft or taking steps to resolve these infringements is too upsetting and not worth the distress.

Therefore, ask yourself, is it worth your time to take measures to avoid art theft? Is it worth your time to resolve an instance of copyright infringement? And do you have the mental fortitude to engage with the stress it causes?

Speaking for myself, my sense of justice and fairness is baked into my personality such that I can’t let artwork theft slide. Despite the mental toll it takes to deal with these instances, it’s even worse for me to do nothing while I know there are people out there profiting from the fruits of my labour. Also, if I am to sell my artwork on a print, canvas or product on Amazon, for example, I don’t want to have to compete against other sellers who are illegally offering the same art and product type, albeit of a lower quality.

Flattery

There is an argument I've never understood - "Why is this so bad? You should feel flattered that your work was good enough to steal". I understand there are many non-artists out there who'd love the ability to create good art. Art so good that it's noticed and appreciated. So much so that it warrants being stolen! However, they do not understand the effort and commitment that has gone in to creating the art.

Artists have developed their craft over many years to get to a point where they have become competent professionals. It has taken passion, effort and a degree of sacrifice (such as time) to have reached their level of ability. And with each artwork, a small part of them goes into its creation. An artist's knowledge, preferences, tastes and loves have been distilled into their work. It's personal.

But for thieves, it's not personal. It's business. The business of exploitation. This isn't something to be encouraged or thought of in a positive way.

Perhaps, for some, the theft provides a little boost of self-esteem? It makes them feel their efforts have value and so they are of value. I understand. It's nice to know we have something positive to offer the world, but that's not what this discussion is about. It's about acknowledging an injustice and considering what you can do to battle it.

Where do thieves sell my artwork?

Sometimes you'll stumble upon an e-commerce site making use of your work. Other times, a friend, follower, or good Samaritan will notify you so that you can take action. But if you are prepared to see if your work has been taken and is currently being sold online, there are a few sites you can use to assist:

Google Image Search - Upload your art / image and search for visual matches via  Google.

Tiny Eye Reverse Image Search - This works in the same way and can bring up matches from alternative sources.

[Note: In testing these sites while writing this article, I unfortunately found 7 instances of my artwork being used on Diamond Painting Kits and Jigsaw Puzzles by Amazon sellers. They've since been reported.]

In addition, you may want to try manually searching for products containing your art on sites like Amazon, eBay, Etsy, or Print on Demand Stores like Red Bubble. This is easier if your work is more niche. For example, if you've painted a blue fairy riding on the back of a toad- you might try searching for "blue fairy on toad", "blue fairy on toad art", "blue fairy on toad canvas" etc. It may yield product results. It may not.

If you'd previously listed and sold your artwork for sale on a site like Red Bubble, a thief may have also found it. You might try searching sites for the same title you'd used on the original product listing.

What to do when you find someone has stolen your art

Many instances of theft are by kids or naive idiots taking your image to use as a wallpaper, avatar or perhaps an album cover for their stupid little song. Over the years, I've found my art posted on forums, in signatures, as a Youtube thumbnail or Ad banner, as a logo for a tattoo shop. I've also discovered it on several hundred different retail products and can still find them being sold illegally today. Typically, an artists work will be taken and used to sell posters, canvases, shirts, mugs, or any product where 2D printed artwork can be applied.

For non-profit use, I typically don't mind my work being taken and shared online. However, I have a problem when I find it's been stolen and used for profitable gain. 

If that's the case, firstly, try not to get too upset and know that it happens to a lot of artists.

From there you work out:

• Who's taken it?
• Where is the individual or business located?
• To what extent has the art been used?
• What will you do about it?

If it's an offender in the USA, Europe or English-speaking world, there's usually measures in place to potentially take legal action. But you may simply want to request the art/product be taken down. Contacting a site owner / seller, explaining the situation and threatening further action is often enough for them to take down the product.

Takedown Forms

On bigger sites, there's usually a form you can fill in if you want to request a product be removed which infringes on your copyright. I'll list a few of these below:

◾Etsy has an official Intellectual Property infringement report you may want to submit. I once submitted a report against a seller who was illegally using my work. The seller then issues a counter-notice to declare they had permission (a lie). They would obviously never win if the case was brought to court, but Etsy then requested that I submit evidence of taking legal action in order for Etsy to take down the infringing product. It made me realize, sellers can game the system if they are ballsey enough to deny their crime.

◾Pinterest - You can fill out a take-down request. I usually just do these if the Pin is pointing towards a for-profit site/product.

◾Amazon - You will need to have an account with Amazon to use their infringement form. You may find instances of infringement on multiple Amazon territory sites- i.e. Amazon.ca, Amazon.co.uk and will need to submit reports to the appropriate site. Years back, Amazon often sided with Chinese counterfeit sellers when it came to infringement reports, but thankfully, things have changed. These days they've usually been pretty good at dealing with the hundreds of reports I've submitted over the years, with the exception of Amazon Germany, often siding with the thieves for reasons unknown.

◾Red Bubble has an IP Report form. As do many of these large print-on-demand websites.

◾Shopify also makes you sign up to their platform in order to submit a copyright report. I'm not impressed with them as a company. I've contacted their trust and safety team on 3 separate occasions to report a seller who uses their platform. This seller frequently steals my art to sell on their products. Everything they sell is blatantly stolen from many different artists, but Shopify refuses to take action against them.

Issuing a complaint

Here are some examples you can copy and modify when registering a notice of copyright infringement via email or web forms to sellers:

1.

Dear Seller.

My name is [insert name] I originally created the artwork on this [insert product] and its copyright belongs to me. I have not authorized the sale of or reproduction of this work and therefore it is a crime for it to be sold. I would request it be removed from your store immediately.

If you fail to comply, I shall be taking legal action against you and any other sellers attempting to profit from this or any other product containing my artwork.

For more information about me and my work, you're welcome to check out my site at [your website].

Regards

[insert your Contact Details]

2.

Regarding Copyright:

Hello. One of my followers informed me that my artwork is being used and sold on your listing:

[insert URL]
My Artwork:
[insert URL of your art]

I appreciate this product was likely bought from or will be drop shipped from a counterfeit seller based in China, but as I have not given permission for my artwork to be used on this, I would like to request it be removed.

If you would like the rights to use this artwork however, let me know and a licence can be arranged. Costs start from [Insert Fee] per design.

Regards

[insert your Contact Details]

3.

Details about Claim:

THIS IS A COPYRIGHT INFRINGEMENT CLAIM. The manufacturers of these products are illegally reproducing my intellectual property on this product. The products feature artworks of which I am the artist and copyright holder. The use of my artwork on these products infringes my COPYRIGHT. I have not licensed or given permission for my intellectual property to appear on these products. Therefore, these physical products include unauthorised copyrighted images. As a result, these products infringe my copyright under International Law and I require that they are immediately removed.

What to do when you find another artist's art has been stolen?

If you can spare 5 minutes, contact the artist. I'm sure a few artists would rather be blissfully ignorant about the fact, but overall, I feel that making the artist aware, at least gives them a chance to take action.

It's useful if you're able to supply:

• Who's taken it?
• Where is the individual or business located?
• To what extent has the art been used?

And then it's up to the artist to decide what to do about it. I'd imagine most artists aren't going to care if their work was used, for example, as someone's personal avatar on a website. And consider that perhaps the artist has licenced the artwork to be used legally.

Personally, I might not mind it if some mid-sized company blatantly rips me off so that I can potentially sue for a hundred grand!

When should you find a Lawyer?

I use a site called Pixsy. It's purpose is to find and tackle image theft on your behalf.

You upload your art or portfolio of work and they will display websites they find which make use of it by finding visual matches online. After that, you have the opportunity to allow Pixsy's legal team to chase any unlawful seller for damages or fees to continue using the art by officially licensing it's use.

If you've been selling your art and images online or licencing your work for some time, it might be worth signing up to see what they find? It seems most suited to digital artists, illustrators and photographers.

Over the last few years, I've asked Pixsy to chase several offenders on my behalf. You put in a no win - no fee claim, so there is no risk. 

One claim netted me a few hundred dollars after Pixsy took their cut of fees. Another claim allowed Pixsy to register one of my artworks with the USA Copyright office on my behalf without needing to pay a fee up front in order to chase a compensation claim.

However, it is often the case that they are unable to recoup damages as the companies/sites using my art have been small-time 'pop-up' stores which don't list a business address and info you'd need to pursue a law suit. Similarly, they find many instances of infringement, but are unable to pursue sellers in countries they don't have jurisdiction in.

Other than Pixsy, you may want to contact an independent lawyer who specializes in copyright infringement. There are also lawyers who specifically focus on online image or art copyright infringement. It's worth noting there will often be fees to pay up front and know that any legal battle will be lengthy and stressful to deal with. 

[blockquote quote_type="type2" author_name="Ben Krefta, Artist" width="100%"]"with each artwork, a small part of them goes into it's creation. An artist's knowledge, preferences, tastes and loves have been distilled into their work. It's personal. But for thieves, it's not personal. It's business. The business of exploitation"[/blockquote]

What to do when a seller reaches out to use your work, or has used your work

In the event you have a genuine customer interested in using your work- well done. If its for use on a product or service, this is your chance to sell it's use for a licensing fee. If its for the promise of "potential" profits or "exposure", I'll often decline it's use.

Any business or serious individual will expect to pay you for the right to use your art. If they've scoured the net looking for the perfect image, and your art is it, then that puts you in a good bargaining position. Don't sell your work short. Of course, you'll then need to determine who exactly the buyer is and exactly what they want to use your art for before giving a price. I'll leave the details of how to price your work for another time.

If a seller has already taken your work, applied it to a product for sale, then at a later date asks for permission, again this is a chance to charge a usage/licencing fee. Of course, this puts you in a bind as you will be going into this new business relationship without having had the opportunity to negotiate terms up front. You may otherwise want to refuse a licence to use the art and potentially sue the seller for using your artwork to begin with. 

I had this happen on an occasion and decided to charge a relatively small licensing fee for the art already used. I thought it was better than nothing, compared to over-demanding more than the seller could afford. And at least the seller realized the error of their ways and wanted to put it right by later finding me and paying for usage. It highlighted the problem that, with so much art floating around online, it can be hard to find the original author. And so, can be tempting to simply just use the art for one's project without investing time trying to find the original creator.

Will people still be stealing your digital art in the future?

The online space is still very much the wild west and in it's infancy- there aren't measures in place to deal with digital crime or to cope with the vast amount of counterfeit sellers abusing the systems that currently exist.

For many years I've speculated about the internet changing in a way to safeguard digital content. Around 2010, I dreamed up an idea to publish or share images online via blockchain technology which keeps a ledger of ownership or transfer history. Funnily enough, NFTs started becoming popular with artists a few years ago and although owning an NFT isn't going to prevent it being stolen and used on products just like any other image, the concept at least has the potential to develop.

With A.I. now able to reproduce "original" art based on existing image data, I suspect it will become easy for many sellers to profit from these derivative artworks as an alternative. Less art may get stolen, although it means artists will need to work harder than ever to promote themselves and their 'brand' over and above creating glossy professional-looking artwork, after such work continues to flood the internet. 

Summary

Ultimately, it's important for artists to take proactive steps to protect their work, but it's also important to recognize that it can be difficult to completely prevent online theft.

If you found this post insightful, please share it a link to it. The more we can do to highlight this stolen art issue, the better.

The goal of being an artist

From a young age I was fascinated by art. Specifically, all the visual media you'd expect a boy a come into contact with- cartoons, comics, video games, anime. For some reason my passion for art only grew as I got older and I decided to turn it into a career. Over 20 years later, I wonder- was it worth the struggle?

I always wanted to express my passion for the things that brought me joy. I wanted to share this passion through my creations, to inspire others. And in some small way, bring joy to those who aren't able to create their own art, yet want it to feature somewhere in their lives.

I may not have been trying to develop a cure for a deadly illness or bring world about peace, but at least it was a goal. Sometimes just having the goal to begin with was enough to get me though tough times in life. Times when my art wasn't enough to pay the bills, when I became seriously ill or when I'd deal with the loss of a loved one.

Pursuing my artistic ambition was a great thing.

Every career is going to have a list of pros and cons

"If I'm going to spend a huge part of my life working, it might as well be doing something I'm interested in, right?"

Below I've listed some of the top 10 pros and top 10 cons when it comes to working as an artist:

Career as an artist PROS:

1. Creative fulfilment
2. Flexibility in work hours and location
3. The ability to express oneself
4. Potential for financial success (un-capped income)
5. The ability to impact and inspire others
6. Constant learning and improvement
7. Opportunities to work in a variety of mediums and styles
8. The ability to turn passion into a profession
9. The opportunity to work independently
10. The ability to work on meaningful and impactful projects.

Career as an artist CONS:

1. Financial instability and unpredictability
2. Difficulty in finding steady work and clients
3. Lack of job security
4. Constant competition and rejection
5. The need to continually market oneself
6. The pressure to consistently create new and successful work
7. High likelihood of low pay and limited opportunities for high-paying work
8. The need to continually adapt to industry changes and technological advancements
9. The challenge of balancing creativity and commercial success
10. The potential for criticism and rejection of ideas, which can feel personal

In my previous blog post about "being an INTJ artist", I mentioned how I'm "high up on the negative emotions spectrum". The result = being someone who has a much greater need for security.

Unfortunately, due to some of the cons listed above, this gave me a problem. A big problem! Deciding to become an artist, musician, dancer or indeed, anything most people enjoy and engage in for free, or as a hobby, means a high probability of financial struggles if turning such activity into a career. That's just the hard truth of it. Indeed, a lack of cashflow was something I battled with constantly.

When it comes down to the questions of "did I waste my life?" and "was it worth it?", it's only something I consider when reflecting upon the sacrifices I made. I was forced to live with certain restrictions. To live a modest life. I couldn't afford the latest gadget, to move out when I wanted, or settle down with a family. Simply surviving and 'getting by' took up too much time and attention. 

Pursuing my artistic ambition prevented me from having a "normal" life.

I often wonder if I would have gone into the artist game if I was aware of the many obstacles I'd need to overcome?.. Probably! Like I say, without the art career goal, I might have been completely lost or without hope. If I'd pursued a run-of-the-mill job to pay the bills, perhaps I'd ultimately end up living with regret for never making a good go of the art career?

However, it certainly would have helped to have been prepared for some of the dragons I'd need to slay in order to pursue this artistic journey. I want to discuss some of the obstacles I've faced, offer some advice and, hopefully, aspiring artists can then walk away a little more informed than before.

Obstacle 1: Learning your Craft

Before working as a pro, you need to be able to produce work to a professional level. Learning a new skill is never easy, and this is especially true when it comes to drawing and producing art. It requires a lot of dedication, patience, and hard work, and it can often be frustrating and overwhelming. 

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Overview: 

One of the biggest difficulties in learning to draw and produce art is developing the technical skills needed to create the images in your mind. This requires a lot of practice and repetition, and it can be frustrating when you're not able to get the results you want right away. You may find yourself comparing your work to others and feeling like you'll never be as good, but it's important to remember that everyone starts at the same place.

Another challenge is finding the time and motivation to practice. It's easy to get discouraged when you're not making progress as quickly as you'd like, and it can be tempting to give up and move on to something else. However, I learned it's important to keep pushing through and to keep practicing, even when it's tough. Learning to draw and produce art is a journey, and it's not something that you'll master overnight. It takes time, patience, and dedication to become a skilled artist, but with practice, you'll get there.

In conclusion, learning to draw and produce art can be a challenging and difficult journey, but it's also one of the most rewarding things you can do. With time, patience, and dedication, you'll be able to develop the skills you need to create the art you've always dreamed of, and you'll be able to see the world in a whole new way.

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Obstacle 2: Taking Commissions

After getting to a point where I was capable enough to turn out a half-decent character artwork, I started out by taking commissions for people who wanted custom artwork. I was always amazed at first that there were strangers out there who would pay for me to work on their projects on a freelance basis. During my teen years, and without easy access to answers on the internet,  I naively expected that working as a professional illustrator meant going to a studio and being employed full time.

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Overview: 

Taking commissions as an artist can be a great to way to generate your income, but it can also be a significant obstacle, especially for those who are new to the art world. Commissioned projects require artists to work closely with clients, who may have different ideas and expectations about the final product. This can be a challenge for artists who are used to having complete creative control over their work.

One of the biggest obstacles in taking commissions is managing client expectations. Both private individuals and companies often have specific ideas about what they want the artwork to look like and how it should be executed. Artists must be able to balance their own creative vision with the client's needs, while also ensuring that the final product meets the client's standards. This can be challenging, especially when dealing with clients who may not have a strong understanding of the art world.

Another obstacle is managing the timeline and budget. Commissioned projects often come with strict deadlines, and artists must be able to work efficiently and effectively to meet these deadlines. Additionally, clients may have a specific budget in mind, and artists must be able to work within these constraints while still delivering a high-quality product.

Artists must also be aware of the legal implications of taking commissions. It is important to have a clear and detailed contract in place that outlines the scope of the project, the deadline, the budget, and any other relevant details. This can help to avoid misunderstandings and disputes down the line.

Another challenge is finding the right clients. Private individuals and companies often have different needs and preferences, and artists must be able to cater to both. For example, private individuals may be looking for a unique piece of artwork to decorate their home, while companies may be looking for something that represents their brand or promotes their products. Artists must be able to understand these different needs and tailor their approach accordingly.

In conclusion, taking commissions as an artist can be a great opportunity, but it also comes with its own set of challenges. Artists must be able to manage client expectations, work within tight timelines and budgets, navigate legal issues, and find the right clients. With hard work and persistence, however, artists can overcome these obstacles and make a successful career out of commissioned projects.

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Obstacle 3: Diversifying your skills

As I gained more experience and recognition, I started working on a number of how to draw manga books. These books were a great way for me to share my knowledge with others who were interested in learning about anime and manga. I loved helping people achieve their artistic goals and it was a great feeling to see others succeed because of my work.

After years of working in the world of anime and manga, I decided to branch out into web design and graphic design. I wanted to challenge myself and see if I could create stunning designs in a different medium. But most importantly, I needed to find new ways to boost my income and back in the early 2000s, web design became a big deal.

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Overview: 

Being an artist can be a rewarding and fulfilling career, but it can also be challenging to make a living solely through your art. Many artists find that diversifying their skills into other fields, such as graphic design and web design, can help increase their income and provide more stability in their work.

Graphic design is a field that requires a combination of artistic ability and technical skills. Graphic designers create visual concepts, using computer software or by hand, to communicate ideas that inspire, inform, or captivate consumers. The field has grown in recent years with the rise of digital media and offers many opportunities for artists to use their creativity in new ways.

Web design, on the other hand, involves the creation and design of websites. This can include everything from creating website layouts and user interfaces to writing code for various functions and features. A web designer must have a strong understanding of the latest design trends, as well as a good knowledge of web technologies, such as HTML, CSS, and JavaScript.

Diversifying into these fields can provide artists with a new source of income and can also help them gain regular work. Many businesses and organizations need graphic designers and web designers for various projects, and having these skills can make artists more attractive to potential clients and employers.

However, diversifying into other fields is not without its challenges. Artists may need to spend time learning new software, programming languages, and design techniques. They may also need to adapt to different design styles and processes, which can be difficult for those who are used to working in their own unique style.

Despite these challenges, diversifying into graphic design and web design can be an excellent way for artists to increase their income and stability. It can also provide them with new opportunities to showcase their creativity and reach new audiences. Whether it's through creating unique and eye-catching designs for websites, or by developing engaging visual concepts for marketing materials, diversifying into these fields can help artists reach new heights in their careers.

In conclusion, diversifying into graphic design and web design can be a valuable step for artists looking to increase their income and stability. While it may involve a learning curve, the rewards can be significant, including new opportunities to showcase their creativity and reach new audiences. With hard work and dedication, artists can successfully expand their skill set and reach new levels of success in their careers.

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Obstacle 4: The Lonely Artist

Working on my own all the time wasn't easy. After years spent working as a web and graphic designer, I branched out to become a part-time tattoo artist. Not only did this help give my eyes a break from an entire day of staring at a screen and dealing with constant eye-strain, but I was able to get some social time with my customers face-to-face. 

It was a great opportunity for me to combine my love of art with my desire to help others. I was always amazed by the transformations that people underwent when they got a tattoo and I loved being a part of that process.

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Overview: 

One of the biggest challenges that many artists face is the loneliness that often comes with being self-employed. It's not uncommon for artists to spend long hours working in solitude, without the social interaction and support that a traditional workplace can provide. This can lead to feelings of isolation, burnout, and decreased motivation.

However, there are ways to mitigate the loneliness of being an artist. One option is to seek out alternative forms of employment within the art industry. For example, you can work as an art educator, museum curator, or gallery manager. These jobs allow artists to be surrounded by the art world and engage with a community of like-minded individuals on a regular basis.

Another way to combat loneliness as an artist is to seek out opportunities to collaborate with other artists. This can be through group exhibitions, artist residencies, or simply by reaching out to other artists in your community and setting up regular critique or brainstorming sessions. Collaborating with others can provide a sense of community, and can also lead to new friendships, mentorship opportunities, and professional growth.

Additionally, many artists find it helpful to join professional organizations or attend art-related events and workshops. This can provide a sense of connection with others in the industry, as well as a chance to network, share ideas, and stay up-to-date with the latest developments in your field.

Finally, it's important to maintain a strong support network outside of your work as an artist. This can include friends and family, or other groups that share your interests and values. Having people to talk to about your experiences and challenges can help to alleviate feelings of loneliness and provide a source of emotional support.

In conclusion, being an artist can be a lonely experience, but it doesn't have to be. By exploring alternative employment options within the art industry, collaborating with other artists, joining professional organizations, and maintaining a strong support network, you can mitigate the loneliness that can come with being self-employed and find fulfilment and satisfaction in your work.

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Obstacle 5: Selling your Art

Despite my success as a tattoo artist, I eventually decided that it was time to take my career to the next level. I wanted to focus more on my fine art and sell my artwork to a wider audience. I started selling my artwork and prints online and at conventions, and I was amazed by the response I received. People loved my artwork and I was quickly able to build a loyal following.

Although the art of selling was yet another new skill that needed to be learned.

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Overview: 

Selling art as an artist can be a significant obstacle for many creative individuals. The process of promoting and marketing one's artwork is often challenging, time-consuming, and requires a great deal of effort and persistence. In today's competitive world, artists must find unique ways to stand out from the crowd and attract potential buyers.

One of the biggest obstacles in selling art is finding the right audience. With the rise of technology and social media, artists are now able to reach a broader audience than ever before, but they must still navigate the complex and crowded market to find their ideal customers. The challenge is to find the right platform that reaches the right people and effectively showcases the artwork. Additionally, artists must also consider the cost of promoting and marketing their work, which can be significant and may eat into their earnings.

Another obstacle in selling art is the perception of value. While art is subjective, many people may not understand or appreciate the value of an artist's work, making it difficult for them to justify paying a high price for it. Furthermore, the prevalence of imitation and counterfeit art has led to a distrust among many buyers, making it harder for artists to sell their original works.

In addition, artists must also contend with the challenge of establishing a reputation and gaining recognition. Many established artists have spent years building a following and a name for themselves, and it can be difficult for new artists to break into the market. Even with hard work and persistence, there is no guarantee of success, and many artists may face rejection and criticism along the way.

Lastly, artists must also manage the cost of supplies and materials, which can be high. They must be able to invest in their craft and purchase the right tools and materials to produce their work, while also making sure that they do not overextend themselves financially.

In conclusion, selling art as an artist is not an easy task and requires persistence, effort, and a well-thought-out strategy. Artists must find ways to overcome obstacles, including finding the right audience, establishing a reputation and gaining recognition, and managing the cost of supplies and materials, in order to achieve success and make a living from their passion.

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I didn't waste my life

There were many times when I was filled with doubt. I was always worried that my work wasn't good enough, that no one would appreciate it, or that I wouldn't be able to make a living as an artist. But despite these fears, I never gave up. I continued to work hard, perfecting my craft and expanding my portfolio.

Now, years later, I am proud to say that my hard work and determination have paid off. I am now a successful artist and illustrator, selling my artwork and prints online and in persons. I am grateful for all of the opportunities that I have had in my career, and I am proud of what I have accomplished.

My journey as an artist has been a rollercoaster of ups and downs. But through it all, I have remained true to my passion and my love of art. I am proud of who I am today and I am grateful for all of the opportunities that I have had in my career. I hope to continue to inspire others to follow their dreams, just as I did, and to never give up on what they love.

Creating Kaleidoscopes

After completing my Unicorns Colouring Book, my publisher asked if I'd work on some sample pages for a potential, new Mandala / Kaleidoscope Colouring Book.

Pattern work isn't something I'm especially known for creating. I wondered, would I be able to create something worthy of being published? I was willing to give it a shot. Thankfully, after having now been producing artwork for decades, I felt like I've become versatile enough to tackle most styles of illustration. And so I began creating a short series of symmetrical patterns, kaleidoscope images and mandala artwork.

To try something new like this was great fun! The possibilities for creating unique, abstract images is limitless. Without the technical requirements of drawing, say, a figure or a scene, this type of line art is quick to create. It's artwork that can be completed in a matter of hours, as opposed to days or weeks.

I've never considered myself a particularly spiritual person so the religious or traditionally symbolic significance of the Mandala is somewhat lost on me. Although, once you spend some time immersed in these types of patterns, there is definitely something to be noticed. Something which has a sense of depth and meaning.

Here's some samples for the book:

[caption id="attachment_5347" align="aligncenter" width="918"] The cover art sample was provided to the client. Despite being a black and white colouring book on the inside, I wanted to give it a colourful, psychedelic vibe.[/caption]

[gallery type="square" columns="2" size="large" ids="5351,5350,5349,5348"]

You can't win them all:

As is the nature of these things, the book never ended up making it into production. My publisher had tried pitching it along with dozens of other titles to their customer (a big US- based publishing house). They liked the direction it was going in, but with so many similar books already available on the market, it made it harder to justify producing another.

I'd like to one day have the chance to pick up the project again. If there are any book publishers out there who produce similar titles, give me a call. I sure we can find a way to improve upon existing, similar books already out there!

Benefits to Creating Mandalas

I'd read that creating mandalas (and I'm sure is true of all self-repeating and symmetrical patents) can:

• Help reduce stress and anxiety
• Help connect with one's self and others
• Activate creativity
• Improves one's sleep
• Enhance focus
• Produce feelings of happiness and calm

Certainly it's something I found myself enjoying far more than expected. Even though I tend not to produce abstract art, there is something amazing about it. Well, some of it. Some abstract art can also be a load of pretentious, ugly-looking mess with the label "art" slapped across it.

If done well, a good abstract artwork can reach something deeper and feel more significant than illustration. Sometimes too much true-to-life detail can just get the in way of what is real and true.

Although there is an art to create good-looking patterns. What makes aesthetically pleasing shapes? It's difficult to put in to words. I found that the more of these kaleidoscopic patterns I worked on, the better they looked. Using a re-iterative process of trial and error is often the best way to hone in on what works. Or at least, that process works for me. It's very strange that certain shapes and arrangement of shapes are pleasing, while others feel unpleasant and disjointed.

Designing a set of Art Prints

I create several new mandala artworks. Each with a motivational message.

Sometimes life gets tough, and negativity limits our potential. Inspirational quotes can help remind us how to live or that adversity can be overcome. And so the idea to was to fuse these messages with a mandala. Something to help give the the message focus, while making for an aesthetically pleasing image. An image people might like to have displayed on their bedroom, kitchen or living room wall. Unlike the black and while line artwork for the colouring book, they were each given a unique colour scheme. Then converted to A3 size images suitable for high-resolution print.

If you're interested in buying one to decorate your home or give as a gift, they're now available for sale in the Shop. Each sale helps support my artistic endeavours and lets me know what type of artwork people like. 

[caption id="attachment_5355" align="aligncenter" width="900"] You only live once. But if you do it right, once is enough[/caption]

[caption id="attachment_5356" align="aligncenter" width="900"] Dream without Fear. Love without Limits.[/caption]

[caption id="attachment_5354" align="aligncenter" width="900"] The best way to predict the future is to create it[/caption]

[caption id="attachment_5357" align="aligncenter" width="900"] Turn towards the sun and the shadows fall behind you[/caption]

[caption id="attachment_5358" align="aligncenter" width="900"] Seasons change and so do we[/caption]

[caption id="attachment_5359" align="aligncenter" width="900"] Don't wait for the storm to pass. Learn to dance in the rain[/caption]

[caption id="attachment_5360" align="aligncenter" width="900"] To be the best, you must be able to handle the worst[/caption]

A final comment

Are you a fan of the mandala? Would you like to see me continue work on the Kaleidoscope colouring book? What's your favourite motivational quote you'd like to see turned into a kaleidoscopic artwork? Let me know 🙂

4 Months later

Continuing on from my previous post, I've continued work on my new card game Total Blast. It's a 2-player, duelling, lane-battler strategy game which takes around 30 minutes (providing you know the rules and are familiar with the cards).

It's funny- initially I thought this project might get finished in 6-7 months. Month 7 has just passed! To be fair, since the last update, I got Covid and was out of action for weeks. Then took a few weeks break for Christmas Holidays. Plus I've been dealing with frequent migraines recently. For those that suffer them, you know how completely debilitating they can be. 

Thankfully there were a few months when I got the chance to crack on with the project. Mostly finishing card artworks. And they're looking great! All the Upgrade and Ability card illustrations are now finished for the core part of the game. That is to say, 17 unique illustrations. Many of the cards will be doubled up in-game to allow multiple uses. When I look over at the completed artwork I feel excited for what I've been working on here.

The Rule book is now on version 2.5 and I expect them to continue to refine as more play tests come in. Now that the card art is done, I can get the next prototype printed and tested in order to gather more feedback.

Art Development Overview

Here's a couple of 'Upgrades' examples showing sketches to finished card artwork.

I feel good to have broken the back on the artwork side of things and completed the majority of it. It was always going to be the most time consuming part of the project, with each card illustration typically taking several hours minimum. Now I remember why I'd been so adverse to working on card game art like this in the past! The graphics for the designs is not necessarily final, as I'm thinking of adjusting the card titles and perhaps the text layout.

Overcoming obstacles

Unfortunately it's not all been plain sailing.  For example, one of the card files became corrupt so had to re-create it from scratch. Luckily it wasn't the most complicated of designs, but still took a tedious 4 or 5 hours to recreate. What's going on with Photoshop these days? Frustratingly, I've had this issue 3 times in the last year on various files.

What's next?

1. I'll be designing the Characters in the game next. I've only tested a few of them, so will need more testing to find the right balance. Each will be lending a specific ability to help win the game. They will include: The Thief, Ninja, Mage, Merchant, Spy, King and an Alien!
2. The Rule Book's graphic design with diagrams.
3. Decide how the game will be packaged and then create relevant cover art/box art
4. Then comes my only real concern- how do I get enough eye balls on the project and market it effectively?