freelance contract

2

Walk to the ends of the earth and you might just find yourself along the way. 

ghost-wanderings  asked:

I'm sorry if this seems like a personal question, but how did you convince or assure your family that art making was the career path for you? I'm currently trying to get back into art after taking a break but my family isn't happy that I want to return to it. Their main argument is that I won't have benefits like someone would working full time at a company & because of the unstable income. Even though I understand where they're coming from, but it still undermines what I want to do.

*whispers* thru a lot of emotional turmoil and anxiety _(:3」∠)_ I was told drawing should only be a hobby and not a career because my family believed you can’t make a good living in art, so I tried to back-burner it and did what i could studying sciences–it didn’t work out well; I had a lot of anxiety and went through some rough emotional patches in university. My mom and grandparents became a lot more supportive after they saw that i had a lot more interest in art than any of my uni courses (and also that i really wasn’t happy going down the science route). My dad’s disappointment lingered a bit longer, but now he’s fully come to accept that he can’t change what I’ve set my heart to, and my family’s really supportive now. In some ways, they’re right: In Vancouver, it’s a saturated industry–it is competitive, you are not guaranteed a position, and if you are, the company may only give you a temporary contract, and freelancing is definitely not a stable source of income. Your family’s concern is in the right place.

However, if this is something you truly want to pursue, you need to start beefing a portfolio, and investing in classes (online or in class) and tutorials to hone your skill and expand your skillset (this is important–nowadays, companies are more likely to hire someone who can do more than just one thing–i.e. being able to draw both characters and backgrounds, to illustrate and code, or illustrate and model in 3D etc etc). Talk to people in the industry (either by attending work conventions or with peers in that industry), you need that feedback and information to get to a destination that’s, for a lack of a better word, hazy and increasingly competitive.

Creating a portfolio takes time and commitment; art will frustrate you, but you will get better, your portfolio will get better. If you choose to freelance, you have to be aware of the risk. You need to understand that you will need to save more money when freelancing because your next paycheque is not always guaranteed. You need to be able to put yourself out there if you’re freelancing. Unless you hire an agent, you’ll need to push your art and yourself as an artist out there whenever you can. Making connections with people in the industry is your best bet–while your art can certainly speak for itself, it’s equally vital to reach out and talk to people.

if you are fortunate enough to land a job within a company, that’s great! you’ll have less freedom when it comes to the work you do and have less control over your own work hours, but your benefits are more guaranteed, and you’re still getting to do art! either way, your portfolio is the most vital thing. While you work on a portfolio, take a job that will help you make enough in order to achieve your art career in the future. Your happiness and how you feel you will succeed is important, and your family will come to realise that. Ask them + friends for help when you need it; starting your path to a career you want shouldn’t be a one-man journey. 

Okay, so I’m spending today preparing a talk for a college class on HOW TO NOT STARVE TO DEATH as a freelance illustrator, and I’m feeling to need to make a post about contracts and payment for you, dear tumblr. The following pointers are my opinions from ~3 years of freelance illustration and self publishing comics. They do not reflect the experience of every illustrator or artist.

How Much Do You Charge?

So, the biggest question in freelancing, after “How do I find jobs” is “How do I price my work?” Generally I price my work by determining an hourly rate, estimating how many hours it will take me to complete the project, and multiplying the rate by that estimate. I also write a detailed contract that protects me from a groundhog day of edits and misery, which I will talk about later. Hourly Rate X Estimated time + Materials

Things to consider when Determining What Hourly Rate To Charge: Charge different rates depending on what you can and can’t do with what you make under the contract. The following list is how I define copyright terms, and these terms vary from contract to contract:

  • Non-Exclusive with time limit: You hold the rights and license rights to client under time limit and limitations
  • Perpetual Non-Exclusive: You own the rights and license rights to client without a time limit.
  • Mutual Exclusive Rights: You own rights to what you make, and license rights to the client and only that client. You and the client can both do what you please with the work so long as you don’t sell rights to anyone else.
  • Work for Hire: Rights and licenses belong to the client and not you. Work for hire is a red flag because it means you will have NO OWNERSHIP of what you make under the contract and the client can do whatever they like with it without your input. If you have to do this, charge as much as you can.

It is also perfectly acceptable to consider how much money your client will be making off of your work when determining your hourly rate. In a perfect world we all get paid well and fairly no matter who we work for. Unfortunately sometimes it’s smart to take into account what your client is getting out of this financially, and what they can afford to pay. I have different rates for non-profits than I do for corporations. If someone is making a lot of money off of my work I feel that should apply to me too. If I’m doing a drawing for a volunteer run organization I believe strongly in I am inclined to offer them a lower rate. It’s also okay to consider how much of a pain in the ass a project is going to be when pricing. If you don’t want to do a job unless it pays enough to make it worth it, don’t do that job unless it pays enough to make it worth it.

Some Contract Tips

First of all, ALWAYS USE A CONTRACT. Not only does it protect you from being taken advantage of, but it is a clear written document that outlines what both parties expect from each other.

Be Very Detailed in Your Work Description: Describe exactly what you are creating for the client, including what you are not responsible for. Most people who hire you for art think what you are really doing is BLACK MAGIC. They have little comprehension of how much time it takes to do what you are doing, or the stages of doing it. Make a very specific timeline. Break it down into small increments, including when you expect to receive feedback from the client. Break down every part of what you are creating. How many images? Will they be in black and white or color? What size will they be? What file format will digital files be sent in? Is original art included in the contract? I could go on and on.

Be very Detailed in Your Copyright Agreement: Make sure your contract is very specific about rights and who can do what. You can customize the specific needs of the job.

  • Third parties: Can you sell the design to third parties? Can your client sell the design to third parties?
  • Portfolio use: Even if the client owns rights to the work, can you use it in your portfolio, website, and social media?
  • Can you use it later? If your contract is non-exclusive, define exactly what that means. What can each party do with the work? Is there a certain amount of time that must pass before you can do something with the work. Many publishers want “First printing rights” but allow you to regain rights to the work after a set amount of time.

Limit Your Number of Edits and Revisions, so that you don’t end up in revision hell. Include a fee system for extra edits and revisions beyond the contract. Make sure to define edits and revisions. I define them as follows:

  • Edits: Small changes such as changing wording in a sentence slightly, or changing a color of a font.
  • Revisions: Large changes such as a re-write on a script, or an panel being re-drawn.

Some people Say Get Paid Half up Front. Sometimes I do this and sometimes I don’t. @erinkwilson made a really a great comic about it though.

Also of note, this is not everything you need to know. It is a few pointers that I have stumbled over and learned from over time. I highly recommend checking out the Graphic Artist’s Guild Handbook of Pricing and Ethical Guidelines.

AU - Speed Demon

  • Name: Genos
  • Alias: Swift Speed
  • Rejected Aliases: Boost Burst, Speedy Quick, Racing Racer, Shitty Stalker
  • Rank: None / Freelance Mercenary
  • Age: 19 years old
  • Goal: To find and destroy the Mad Cyborg.

The moment he first witnessed Speed-o’-Sound Sonic dispatch an entire platoon of mysterious beings, he knew he had to study under him. Such speed, such precision, not a single wasted movement (aside from some initial bragging, but someone so talented had every right to show off every once in a while); for the first time since becoming a Cyborg of Justice, Genos began to think that raw strength wasn’t the only path towards his revenge. After all, what was more dangerous than an enemy you couldn’t see coming?

With his decision to pursue the path of speed and concentrated, effective attacks, Genos requested Kuseno to alter his body to be more aerodynamic, his Sensei’s frame serving as a model. His heat cannons were focused into more powerful, smaller weapons, and several types of blades joined his repertoire.

At first the ninja was not interested in taking a student, but Genos wore him down with sheer stubbornness, bold-faced praise to his skills, and exploitable household abilities. Sonic immediately regretted his decision when Genos began getting in the way of his assassination contracts, half guilting, half sabotaging any criminally-inclined jobs the ninja intended to accept. Were it not for the cyborg’s willingness to search for new freelance contracts for Sonic, the ninja would’ve stabbed him in the core several times over. There’s also the fact the cyborg learns frighteningly fast, which Sonic sees as good training to better his own techniques, but he’ll never admit to that aloud.

Genos has no delusions about his Sensei’s shitty attitude, and while they butt heads very often and can’t keep from insulting each other at every turn, Genos genuinely respects Sonic Sensei. But only because his stalking of the man allowed him to coin in on his innocent self-consciousness over his bad habit of grinning too wide, and his kindness towards animals and people that don’t immediately piss him off; even his horrible naming skills can be kind of adorable sometimes.

He’s still a bitchy asshole, though.

The public despises you with good reason, Sensei, but I’ll still follow you anywhere.“


I’ll easily admit this one’s just crack.

wizard-guff  asked:

Hi Yoko! Do you know of any resources for someone working on coming up with a basic freelance art contract? Thanks!

Google “freelance art contract template”.  ‘m not trying to pass the buck or anything, Google is a good resource for finding examples of contracts that people have written and as long as you read through them carefully (as opposed to just copypastaing them) you should be fine- it’s also good practice for buffing up your legalese.  If you don’t understand something, look it up and try to rephrase it in your own words so you understand what it means and you won’t get confused the next time you come across it.

Things you may or may not want to include in a formal contract between you and someone else:

  • Your name and contact info
  • Their name and contact info
  • Project’s name and what work you’re doing for them (20 B&W illustrations, a cover illustration, coloring comic pages, etc)
  • The purpose of your work/The Project and what the work is allowed to be used for
  • The agreed upon deadline for said project (or a date to renegotiate the contract if there is no end date, like in a collaboration on a webcomic)
    • intermittent deadlines, if they apply
  • what happens if the contract is violated (aka if you miss a deadline, if the client fails to supply resources at all or on time, if the client asks for more changes than they’re allowed, if a client refuses to pay or is late in paying, etc)
  • Who owns the copyrights to the work your produce, what specific rights the client has to the work and what rights you have to it
    • If copyright negotiation was a big part of the proposal, you may also want to include how/how much purchasing more rights to your work will be
  • How many/what kind of adjustments/changes the client is allowed at each “stage” of production
    • a brief outline of what each “stage” is
    • How much it’ll cost for extra changes or for changes that aren’t allowed at a specific stage (i.e. asking to change the pose when you’re past the inking stage)
  • How much you are owed if the client wishes to cancel the contract
    • Keep in mind this way be different amounts at different intervals throughout the project’s scope
  • How much you will refund the client if you wish to terminate the contract
  • Does the client get to keep or use any of the in-progress or completed work if the contract is terminated
  • Who has the power to extend the deadline and under what conditions
  • Notifications of sickness, emergencies, etc and how that affects deadlines

Most contracts are going to be really simple unless it’s a BIG work opportunity, such as working for a company- though in most cases like that the company will likely supply their own contract (make sure you read it all the way through and understand it completely before you sign!).  

How not to work with an artist

Recently I had an interaction with someone who wanted to hire me to make a comic that really took me aback.  I’m going to analyze how things escalated, and some of the red flags along the way, with the hope that perhaps you too can steer clear of these kinds of potentially awful situations.

So the story goes…

He first contacted me on Tuesday, Nov. 29th, spoke on the phone to arrange a meeting.  At this point, I only have a rough idea of what the project is. Something along the lines of making a comic to go alongside the release of a metal music album in Summer 2017.  Sounds interesting! No budget has been spoken about yet, however.

I mentioned I would be in Toronto the next day, but time would be tight.  I tried to make a meeting happen, but time wouldn’t allow for it.  We both agreed to reschedule.

Realizing that I would have to make a separate trip in to meet with them on my own time, I emailed them for more details.  This way I could have a better feeling of whether it would be worth taking a half day off work to travel to Toronto to chat, it went as follows:

I just wanted to chat about the logistics before I head to Toronto because if I come down next week it will just be solely to meet you, rather than as part of a bunch of Toronto errands like this past Wednesday.  In light of this I’d just like to confirm some details:

-how many pages will the comic be?
-cover and back cover I assume?
-any intermediary pages? Like ‘introducing’, or info about your band? Just give me a full scope of the project basically
-black and white or colour?
-what styles of art would you like to shoot for? Aka, what is the artistic 'aesthetic’ of your band?  
-timelime, you provided some info but let’s hammer down some specifics
-budget, how much would you ideally like to keep this between? Giving me a range is okay if you’re not sure. I’ll give you a more accurate quote one way or another of the costs of the work when I have more details about what exactly you’re looking for, so the more accurate you are, the better.  I always do my best to estimate how many hours I expect the work to take me, and usually I’m very close.

This will gets the pot boiling for now. Looking forward to hearing back.
Cheers!
Garth

He then gave me some nice details, the best he could without his partner Dan to help fill in the blanks.  30 pages, colour, front and back cover, maybe some pages in between.  Fairly substantial!  Was looking forward to it, until we got to the question of the budget. 

This was his response:

I don’t want set a budget limit for this right now because I feel like it could interfere with what you think is your best you can do for this project. I would like to know what you think so far based on where we are at after these questions. We want someone’s best work and after seeing some of your stuff, I think you can make a Comic book for this album that will be classic.

This is where my initial red flags began to go up.  Most notable from the bold and italicized font above.  The rest isn’t too bad, other than being vague.

Let it be known, that having a ballpark budget (even if it changes) should never ‘interfere with what you think is your best you can do for the project’. Also notice how this keeps the onus on the artist as having to do their ‘best that they can do’ while not mentioning how their best will be compensated.  

This irked me a bit, so I emailed back hoping to clarify that part, and also adding why I needed at least some indication:

This description regarding a budget question gives me a healthy level of skepticism of whether there is a budget for this.  I want to just be able to trust you guys as it sounds like an awesome project to me, but trust alone doesn’t, and hasn’t always worked for me.  

The reason I need to at least have some indication of what you’d like to put towards this is so I can know whether making a trip to Toronto is worth it financially, because that’s basically a half day off my other freelance contracts right now. 

So with what I know from you in regards to the detail and quantity of pages, I will send you a quote tomorrow with my general (and it will be pretty general) range.

Be in touch soon.

I thought this was pretty fair, but would love to hear from you if you feel otherwise.  However, this is when things went sour.  Here is his response:

Hello Garth,
I could feel your skepticism before the last email. Don’t let assumptions get the best of you. What I meant by your highlighted phrase “I would like to know what you think so far based on where we are at after these questions.” is that we want to know what you can do for what price. I’m not going to throw out a random number and say this is what we’ll pay you. I want to know what you can do for what price and what quality we will be getting. It is not a question of money. It is just realistic business on our end too. We discuss what the project entails, you give us a quote based on what you think it will cost for your time and talent, and we make a deal or not. I think that is a fair way to do business.
I am a freelance worker also. I build concerts at the Rogers Center, Molson Amphitheatre, all the festivals in the City since 2009.I have many connections and colleagues in the Concert world. I also know how to make a great rock'n'roll concert and have worked for all of my favourite bands. Dan was a private student of multiple gold and platinum record producer Andrew Shepps, who produced hits by Adele, Red Hot Chili Peppers, Metallica. You could call him a mentor as they still keep in touch. We are both up and coming professionals on both fronts of the music industry Just so you know that we are not fucking around.

Several things I’d like to point out here that, in my opinion, are badly handled:

  • First red flag, from the first bold segment on ‘not throwing out a random number’, I didn’t actually ask for this, I asked ‘how much would you ideally like to keep this between? Giving me a range is okay if you’re not sure’ and then said that I’d give him a quote after.
  • Second red flag: “It is not a question of money. It is just realistic business on our end too”.  To me, this sounds like he is purposely avoiding the topic of the cost of the project.
  • One reasonable part is the next bold part, that says:  “you give us a quote based on what you think it will cost for your time and talent, and we make a deal or not. I think that is a fair way to do business.” is definitely one of the more reasonable in this, however, I was already in agreement with this, but wanted to feel out if they were as serious about this project as he says they are.
  • Third red flag is the entire second paragraph, which feels like an over dramatic inflation of self.  Making them appear much larger is a common trick, that often leads to the ‘we’ll pay you in exposure’ that so many others promise, and moreover, contributes to my bullshit detector going off about the whole thing.  The last sentence is especially promising, with the ‘we are not fucking around’. Dramatic antics ahoy.  If you want to prove you’re not fucking around, then give me a reason to believe that taking a half-day off my other work is worth it.  Would a lawyer come and meet you for an initial consultation in your separate city for free?

Soon after the last email was sent, I received several texts, which I’ll respond to individually below:

“Hello Garth, I’ve talked to Dan this morning and we don’t want to do business with you.  You’ve missed the first meeting and you are too skeptical”

The immediate back-out leaves my bullshit detector ringing off the handle, and it’s doubled by saying that ‘I am to skeptical’ for asking for a budget. I love the guilt-inducing ‘you’ve missed the first meeting’ when I’d mentioned from the outset that I may not be able to fit it in to my Toronto visit which was already fairly full, and it was understood and resolved from both ends immediately.

The second text:

“We don’t want to waste more time on someone we can’t count on. So for that reason we are going to find another artist.”

So far, the ‘wasted time’ he refers to is a couple emails and a handful of texts. I’m clearly the anchor that is holding the ship back.

 A third, unnecessary but hilariously welcome, text to cap it off:

“My advice next time you get an opportunity like this is to have a proper business meeting and have some interest in hearing the music.”

The interesting thing here is that he didn’t actually give me a chance to send him my quote.  This feels similar to the all-too-familiar client that tries to get the artist behind their project to the point that they’re the one carrying the flag. 

I get that having an artist personally invested in your product or service is a benefit to their ability in bringing their best work to the table, but do you know what’s even better? A demonstration of your sincerity through your investment in the product you want to be have created, so that the artist can bring their best work to the table.

In conclusion:

If you want to work with an artist, graphic designer, illustrator, or any other artist, please respect their time as you would any other profession, and don’t be disappointed if they’re not on the front of the ship with you and the rest of the team who are steering it if you’re not prepared to act reasonably on the business end of it.

anonymous asked:

will there be a new chapter at the end of this month? or a half-chapter, even?

probably not. please understand i just started a new fulltime job of drawing all day and then when I come home I have 2 freelance comics coloring contracts still going. i’m basically dead rn. nobody wants to get back to bff more than I do but it’s just not physically possible right now. please be patient, I seriously am working on it, I haven’t forgotten about it nor do I plan to give it up.

in the meantime I suggest reading tinf, the inheritors, brainchild, avialae, or job satisfaction!! (just a few comics i’ve been interested in lately since some people sent messages asking for meantime-recs. in general this ask is a response to like 20 asks I’ve gotten recently so please anon don’t think i’m mad at you or jumping down your throat in particular!!! i love you all and really appreciate you want bff to update!)

3

Ooooh these are so old, man. Anyway, I think it’s a good thing to show you guys.

I just heard of that DC Superpower Girls TV series and I remembered doing some character design on the reaaally embryonic stages of this great baby back in 2013. I was just about to start my second year in traditional animation here in Montreal and had  one weekend to do a few line ups of classic DC superhero characters using different styles. It was my first contract ever, I was 19 and barely understood the general rules of design for animation (bear with me a little). At the time the exec wanted to put the girls in a more regular kind of high school setting, that’s why they look more normal/casual. I really wanted to make them look a little more like children. I hate those kids shows where child girls are dressed and designed like women. It obviously sends some bad messages for the kids watching.

Having to design some of your favorite characters for DC as a first  freelance contract is a hell of a blessing!  I’m so glad those types of shows are finally being produced. I still haven’t seen an episode so I don’t know if that’s any good but having an all girl cast cartoon series is already a good thing for the kidz!   

Oh and happy new year everybody!

See ya!

next week my freelance contract will be done and a big ass pile of paperwork for my day job will be done and my only Task will be to plan my friend’s birthday party and watch old episodes of Xena and my bathroom will be done so i can move back into my house and i predict i will be 60% more at ease with the universe

Freelance Advice! Self Promotion and Starting Your Own Brand

I was just sent an email that was asking me about how I got started as a freelance designer/illustrator/animator/x, and I think I’m just going to paste my answer here in case anyone gets something out of it.

————-

Illustration is a career path I’ve always been obsessed with– in terms of work experience, the first job out of school I got was a paid internship at MIT creating a game from start to finish over the summer. From there I scoured Boston for similar jobs and finally landed on a game studio that hired me. Since then, all of my jobs have been through knowing a colleague who knows a director who knows someone else who needs an illustrator. Never take your network for granted!


I attended a design school that focused on self-marketing and I know there’s a lot of crossover in each department on how to get started. 

In my senior year I took a class that focused on portfolio building that was incredibly helpful. We: 


1. Trimmed and enhanced our bodies of work to create both an online and physical portfolio that best represented our artistic strengths and voices. 

2. Designed business cards (I recommend moo.com for sharp and well-priced cards!) and mailers (I’m not sure if graphic designers necessarily send out mailers, I think that might be more under the fine artist category).

3. Drafted up invoices and contracts for future use (which was just a matter of searching the internet for a standard freelance designer invoice/contract and recreating it in InDesign, tailored to our needs).

4. As an assignment, we reached out to 5 professional artists whose work we admired and asked them for a critique of our site. That one was nerve-wracking, but I was pleasantly surprised that some of my art heroes got right back to me with valuable suggestions.

I’d recommend spending a good chunk of time on all of these points. Having this as a foundation is incredibly helpful, and spending a few days re-tuning your site and resume every few months will have you fully prepared for any jobs that come at you. People will know you as someone who takes their work seriously, which is the best professional reputation you can have. 


Things that I’ve learned since graduating: DON’T miss out on online promotion! Creating a LinkedIn profile, starting a blog, a Twitter account, and having a Facebook page specifically for your work are all great ways to gain traction and get your name out there. People are always looking for designers and passing around links. You’d be surprised at the amount of work you can get through being the friend of a sister of someone’s cousin who happens to be launching a start up and needs a new website and logo.

I’ve found Twitter and Tumblr to be especially helpful for 1. Posting updates when you make new work and 2. Talking about yourself. Personally I’m kind of an over-sharer, but I’ve made a lot of professional connections just through being positive and chatting about stuff I enjoy.

omgggg the bank sent a paper letter to the adress linked with my credit card (still my parents’ adress cuz I got the card when I was in college and never bothered to change it) with, like, my card bill or whatever cuz I forgot to pay it after going to Montreal Comics Festival. Which would be FINE, I guess, except that they’re only supposed to send me EMAILS and that my dad called me like “oh hey you got a letter it looked important so we opened it and you gotta pay your credit card also we know what you bought”

and URGH that “we know what you bought” line was so snide like “SOoooo, throwing money out the window again are ya?”

Which is bullshit okay I had like a kickstarter, some itunes stuff, my train tickets and fucking netflix on there. Nothing OUTRAGEOUS.

…. and then I told them I couldn’t come home with my brother this weekend because I have a freelance contract I need to work on this weekend cuz the client need their stuff for the end of july. To which he answered: “that’s okay, it’s good that you have contracts, you need to make money after all

what’s that supposed to mean

The Freelancer's Guide to Imperial Contracts - By Tohm Schriver

War’s still going. That means more dead soldiers and Mandos. With the Hutts throwing in with the Republic, its a great time to be a merc. Empire’s hiring more, but it’s a high risk work environment. Here are a few tips to make sure your work is lucrative, long lasting, and that you aren’t murdered by your boss.

  1. Mind your manners. Sith are the top of the food chain there.
  2. Seriously mind your damn manners. It doesn’t matter if he’s a complete prick idiot, you call out a Sith and you can expect decapitation. Probably. Or lightning.
  3. Sith have weird powers. Best way is to wear a helmet most of the time so they don’t see you make the appropriate faces when they do something impossible.
  4. Mandalorians tend to be muscleheaded cult-minded idiots with a bunch of chest-thumping and ‘vod-ing’ left and right. Best to ignore them.
  5. Avoid Vaiken Spacedock.
  6. Convert your currency ahead of time. Imperial credits are the way to go. Ammo isn’t cheap and a lot of merchants there wont take anything other than sanctioned cash.
  7. You’ll hear the word 'sanctioned’ a lot.
  8. Upgrade your equipment. There’s plenty in the way of hardware in the Empire, and since they’re so industrious they have some quality pieces. 
  9. Be a professional. The place isn’t alien-friendly, and dont let the dancing girls fool you. Anything less than what the job calls for and you may as well pack your bags before a contract is drawn on you.
  10. Make yourself invaluable. Know what the difference is between the Empire’s droids and mercenaries? Some are disposable, the others can be repaired. In their eyes at least. Be worth your pricetag.
  11. Last but not least: Don’t be an idiot.

This should help. Happy hunting.

the year I wrote too much about peaches and coffee.
the year I got a book deal and pulled out of a book deal.
the year I got my first freelance contract and couldn’t sign it.
the year I worked quietly, alone.
the year I burned my waitressing apron in a parking lot.
the year I saw one of my books in a bookstore for the first time.
the year I stopped waiting by the phone.
the year I wept in five different countries about the same thing. 
the year I didn’t kiss anybody.
the year I practiced forgiveness.
the year I found my people.
the year I learned too much about love and distance.
the year I thought she would contact me and she didn’t.
the year I thought he would stay and he didn’t.
the year I really had to learn how to let go.
the year I started sleeping next to books again.
the year I decided to move out of state.
the year I started to look forward instead of back.
—  “2015” Trista Mateer

Ok so @goodluckdetective​ had an idea for an Emergency Services AU aaaaaand it just blew my mind. I started thinking how I would write it and pair things up. I’m trying to think of how Blood Gulch and Armonia would work (thinking city limits debate). It’s honestly really crazy and hilarious to me how it would all work.


Red Team are firefighters. All itching to go on the next call. In the mean time, either taking care of equipment, lazing around, or doing training drills. Haven’t decided if I wanted small city or small town volunteer station.

Sarge - Assistant chief at the local station. Always ‘fixing’ some piece of broken machinery. He’s still waiting on approval from county to get things upgraded. Until then he cobbles it together. He has a love/hate relationship with SOPs (Standard Operating Procedure) and County Command. Sarge LOVES to do practice burns. He’s always overenthusiastic about any fire. Car accident? He’s hoping (but not) it’s on fire. Sees smoke on the horizon? Clearly that’s a brush fire, not someone burning their leaves in their yard; Grif get the truck. Prefers riding Shotgun on the Engine.

Simmons - Simmons actually went to the Fire Academy. He knows the science behind fires, knows a lot about the trucks and pumps, also knows the formulas and geometry needed to calculate pressure loss (Grif gives him shit about being a nerd). He’s all about the SOPs and regulations. He’s usually the one fiddling with the walkies. Later on Simmons goes to get basic paramedic training, so the truck would have a paramedic. However he gets roped into taking a few shifts to help out EMS. Sarge and Grif rag him about being a “Blue traitor”. Simmons is more the “book smart” fighter, but still lacks the “on your feet instinct”. Simmons prefers to drive the Rescue over the Engine. During one bad call, a chunk of a building gets caught on his arm and leg. Thankfully he was on the side that wasn’t on fire. They were damaged to the point of being amputated. However, the skin tissue from the lost limbs as well as a kidney was donated to Grif who was badly injured in the same fire. He was given high grade prosthetics and continued fire fighting. However he usually stays by the trucks and mans the pump and gophers.

Grif - Best Driver for the engine. The most reliable at getting the engine through the tiny back roads however the laziest. Simmons has just giving up on relying on Grif to load the hose back on the truck or if he does it’s the shittiest job imaginable. He does eventually learn when the hose kinks when they were catching a hydrant and dents the fuck out of the bar on the hose bed. He also CONSTANTLY forgets to refill the air tanks and to change out the hose on the dry racks. He’s usually paired with Simmons since they’re pretty good at balancing each other. During the bad call, he was the unlucky one that was caught on the fire side during the collapse. He experienced 3rd degree burns on most of his left side. He went into shock which caused his kidneys to fail. The excess skin from Simmons amputated limbs was grafted to Grif. He makes a full recovery.

Lopez -  (He’s the only one I don’t have a clear idea for) Lopez handles most of the truck maintenance. On car accidents, he’s usually the one wielding the Jaws. He’s bilingual, but refuses to speak English (he thinks the rest of them are a bunch of idiots and doesn’t want to deal with them). He’s usually paired with Donut since Donut’s the only one that can “understand” him. Has a HUGE crush on Sheila, one of the dispatchers.

Donut - Rookie who started volunteering after doing several years of the Explorers program at a different station. Very chipper and enthusiastic about everything. Donut usually takes care of the house chores at the station. He gets caught in a backdraft. He wasn’t wearing a Nomex hood at the time (his program was with a lot of vet fighters who hate the Nomex hoods because their ears are covered and can’t tell when it’s getting too “hot” in a room). He has some really nasty scaring on the right side of his face and lost most of his ear on one side.


Blue Team are EMS. Always bickering over who is driving or just bickering in general. When Washington joins full time, he’s always drilling them. 

Tucker - A people person. Not necessarily a good one. He is known to be mostly professional out in public but makes tons of inappropriate jokes in the truck and at the station. He’s the best at setting up for IVs and spotting locations or people in distress. Tucker tried to get the call number “69″, but was denied several times.

Caboose - is really great with kids and guys who need to be restrained when their insulin is too high. When something goes wrong he blames Tucker. Caboose is also known to accidentally inject his teammates instead of his patients. He really enjoys talking with dispatch over the radio.

Alpha Church - no bed side manner and is impatient as hell. Cannot hit a vein to save his life. He’s usually good at getting vital readings, symptoms for potential drugs, and noticing when a patient is about to crash. Alpha runs into a building trying to get to a patient and dies. Not sure if Alpha and Epsilon should be siblings or cousins with Carolina.

Epsilon Church - After alphas accident, his twin brother Epsilon is transferred to his station. (to the surprise of everyone at the station because Alpha never mentioned a twin). If the group didn’t know any better they would almost swear that twins were the same person. Epsilon however isn’t as high strung as his brother was, and gets along better with the crew, and is a little better with patients. However he can’t hit a vein either.


Freelancers are Police. Something happens with county/state police (haven’t thought this through much). Freelance was contracted to the Blood Gulch crew, but something happens that requires them to pull out. They were all specially trained in basics for firefighting and are at least paramedic status.

Eventually Wash and Carolina take police work at Blood Gulch. They’re always on call since they’re the only two regularly scheduled police officers. Wash gets EMT training and takes shifts with EMS as well as his policing duties (the man never sleeps). Carolina gets hired on as Police/Fire Chief at some point, but also goes and gets EMT training in case it’s needed.


Vic (early days, but mysteriously leaves with no explanation), Sheila, and Fillis are 911 dispatch.

Doc is a “Safety Inspector” from County. He makes a bunch of suggestions and changes that were made either too late are so ridiculous no one listens.


Ok cut below is an explanation of things back from my home. I was raised in a firefighting family in a small town. I know things are probably a lot different now and that other cities and areas would be run differently. 

Feel free to send asks, suggestions, and what not.

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I am sorry to have had so little to post around here, lately- up until recently I’ve been nose-down at Hasbro working on secretive Play-Doh things that I wish to Thor I could post…alas! Not for a good long while…
BUT!

I did make a Viking for an art-thing that didn’t quite work out (kind of a…Viking audition?) Still, it was SUPER fun and I’m very pleased with the final product- it felt good to make some beardy norse nonsense.

I am back at my personal studio, gearing up to take on new freelance contracts and make new (hopefully more share-able) art! Hooray! See you guys soon :)

Let get this straight.

Toei did not “clean house” when it comes to the Crystal Staff because of “complaints” of the western side of the world. They didn’t fire everyone while saying dishonor to their families and hire a new staff. If you really think your little bitty blog in a little corner of the internet got that much power to get someone fired, you really need to step away from the computer and go outside a live a little. You really need to live if you think you saved crystal although you bitched about it for almost two years but I digress. 

The only two people left was the director because he had other projects and Yukie since she is a freelancer and was contracted to them. Her contract was up didn’t offer her to come back which she probably got more projects. Everyone else the same and the fact the new character designer designs was in the first two seasons of crystal in the first place. Staff changes always happen in shows. It’s nothing new. 

The simple fact is Crystal probably has a bigger budget now since it’s on tv  not on the web anymore. It got a well deserved promotion from Toei thanks to the fans who supported it.(not complained on every little thing) Toei finally give them the proper resources they need and they put it to good use. Season 1&2 is still there but now with the proper tweaking it needed. I was watching the transformations and the speeches and the key animation from the first two seasons was still there. They didn’t go clean slate but just build on that they had. The true test on if it improved is honestly going to be the 3rd or 4th episode of this season since the  first episode of the season  always looks good… 

anonymous asked:

I'm torn between getting a bachelors in Concept Art or Character Art. While I really love concept art I'm unsure just how long they're paid for, and if AAA companies just hire them for one game. There isn't really a lot of information :/

I actually sat down to answer this question some time ago but, as I began, I realized that it’s a field that I’m less knowledgeable about. Instead, I asked axl99, a professional concept artist (among other things) in the industry her thoughts. She was kind enough to write a rather in-depth reply, so I’ve posted the entire thing below. I hope it answers your question.

axl99:

My first response is to be careful where you invest your money. Gnomon, Red Engine, and other specialized schools might not give you all the tools you need. Degrees I find are only good for two things: work visas and teaching. The stuff you learn in school will likely be outdated by the time you’re hired at a company.

The best way to know what you want to do if you want to be a game developer, is actually try it out for yourself.

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i accidentally chatficced at sam about UMY!honeyphos and gave us both feelings, so here you go:

meaghan: also: head canon that umy!hdew and xephos sleeping together was a complete accident
meaghan: xeph was lecturing at hdew’s university as a guest for the circle magic department, considered something of an expert, and it was held after hdew’s geomancy lecture in the same room

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anonymous asked:

Do you have any recommendations on forums or marketplaces where one can find freelance work in game development? Especially if you're just starting out and don't know anyone to collaborate with.

For Everyone:

For Artists specifically:

  • Polycount’s forums. They have subforums for full-time and contract/freelance work, those who will do work for royalties/pay after launch, and unpaid work (usually mod teams).

Also, if you are using (or learning to use) a specific toolset like Unity or Unreal Engine, most such places have forums where you can reach out to others for collaboration.

Unity 3D:

Unreal Engine:

I also know that there are communities built around RPG Maker, Game Maker, and so on as well. It all really just depends on your experience level and what you want to do.