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Matthew
@matthew
speaking anecdotally, I invite fewer of my friends to FC now than I did a year or two ago. Still unpacking the reasons / thoughts behind that but curious if others feel the same.
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Zach Lipp
@zachlipp
Iāve been extremely active here for 6 months. I donāt invite new people to Farcaster anymore. I tried to onboard a lot of people at the beginning. A core of users stayed but 90% of the artist community I helped onboard are no longer active. Itās a graveyard of user profiles that I brought on. A focus on how to get those users back on the platform seems like a better bet than trying to convince someone new that it makes sense for them.
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Callum Wanderloots āØ
@wanderloots.eth
Agreed, this is my main focus. A major reason for the dip was degen rules changing and people feeling they couldnāt earn I think another is that low mint cost platforms like Zora donāt inspire artists to spend enough time here, because they earn far too little to justify the time it takes to become a power user here
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Zach Lipp
@zachlipp
Letās start with the low mint cost art platforms. From a collector standpoint, they are interesting. They are a great way to discover new artists and a way to experiment with genres that are not areas of expertise. From an artist standpoint, low mint cost art is a great tool in the toolkit. The idea of a low cost mint has its appeal for specific scenarios. Artists with a dynamic history in the on-chain art-world are going to naturally be hesitant to this model because its counterintuitive to how they initially priced their artwork when they entered this space in the summer of 2021 or anytime in 2022. Iād like to see a polarizing side of the art ecosystem on Farcaster to balance out this low mint cost model. This is enough to stop many artists from ever committing to Farcaster.
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Jasonš©
@jasonophoto
Whatās interesting, coming from my experience in the print world in galleries, is that low cost seems counterintuitive from the beginning for me. Essentially, what I was told early on by established artists is that once you show youāll take less for your work, it is hard to ever get anyone to pay more. I feel like a lot of us were sold a bill of goods about how it would increase the number of wallets we were in, increase our exposureā¦ but I havenāt seen many artists that offered low-cost or free editions translate that into higher sales.
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Zach Lipp
@zachlipp
I appreciate you sharing your perspective Jason. I know you have a lot of experience. This is not your first rodeo. Artists have had to shape shift within the on-chain world over the past 3 years and itās dizzying. Cool to learn about your irl experience with galleries as well.
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Jasonš©
@jasonophoto
Yeah, I just wonder if collectors hyping the low-cost, free, $0 reserve mints have almost duped artists into giving their work away. Sure, there are always exceptions you can point to, where they tapped into a new audience, built a good marketing plan around a new series (@newlightvisuals 2023 editions come to mind), but those are exceptions to the rule. I think a lot of artists gave a way a lot of really good work.
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Callum Wanderloots āØ
@wanderloots.eth
Which, in contrast to web2, we give away work for āfreeā, so in theory, posting to platforms like zora free mints and rodeo, in my mind, should be more of a parallels to web2 āpostingā as it relates to the way collectorās perceive it. But the low supply and 24 hour capped minting introduces a time feature that can, perhaps, lead to a higher chance of virality š¤·āāļø No right answer really, but Iām concerned for the same reasons you are.
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