Jason🎩 on Warpcast

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Matthew pfp

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 pfp

I’ve been extremely active here for 6 months. I don’t 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 A core of users stayed but 90% of the artist community I helped onboard are no longer active. It’s 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 ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

Agreed, this is my main focus. A major reason for the dip was degen rules changing and people feeling they couldn’t earn I think another is that low mint cost platforms like Zora don’t 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 pfp

Let’s 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. I’d 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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Jason🎩 pfp

What’s 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 you’ll 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 exposure… but I haven’t seen many artists that offered low-cost or free editions translate that into higher sales.

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Callum Wanderloots ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

Exactly! But there’s a difference between selling posters of your art (low cost) and museum quality (fine art print, low editions or 1/1) cc @seanmundy 🫡 imo, with crypto art assets regardless of platform, the contract dictates that “quality” or “context” in which it is made, like the irl galleries vs poster shop. So how does the contract level supply/creation indicator impact the parallel to the physical art world? At the end of the day it’s supply and demand, but the demand needs to be valued sufficiently for the artist to make a living. The volume on something like rodeo needed for that to happen is quite high, so we need a way to translate the distribution value of low mint platforms into higher valued pieces/experiences/anything

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Jason🎩 pfp

Yep, this is fair all around. However, there are challenges to translating prints to NFT… for prints, the medium and size can differentiate… so 100 24”x36” prints have a limited supply at $1k, while I can offer the 8”x12” in an unlimited supply (provided that is all disclosed in my certificate of authenticity), but… … in today’s NFT world, offering a 1/1 (max resolution, let’s say), and a lower resolution truly open edition (not the “timed” open editions some offer today), but that idea is regularly panned, and the artists that have tried it have been vilified.

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Callum Wanderloots ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

For sure, the medium becomes the distinguishing factor of “value”, though of course the supply can have a large impact. And on the vilification, exactly, which is why I’m so confused on the zora free mint meta that everyone was so excited about. imo, the free mint meta is a stand alone medium that should be considered its own message, rather than limiting the way art can subsequently be used by the artist

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Jason🎩 pfp

So, in all honesty, I'm thinking of an artist in particular... hang on... man, time in this space just escapes you. She was in the Drift genre, with shots from skyscrapers, and she dropped a 1/1 and an edition from the same image at the same time (with some sales, obviously, arranged in advance), so it sold well (if not sold out immediately), but it sparked a huge rage among collectors.

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Zach Lipp pfp

I know the artist and I know the collector. Both have had a positive impact on me in my time in my on-chain journey. This was the exact thing that I thought of. It was a HUGE deal when that conversation took place.

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Callum Wanderloots ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

Okay interesting! So this is what I’m talking about exactly, this type of scenario. But! In my mind, there’s a difference between: 1)selling a 1/1 on your own contract and an edition on the same type of contract, both on the same marketplace, and 2) “posting” a free mint ($3 or less) of the edition on an 1155 contract as a “post” on zora or rodeo To me, this is more akin to selling a poster (literally a post-er) of the 1/1 at almost no cost, which in theory, should actually boost the value of the 1/1? Selling editions at 1/10 the cost of the 1/1 on top of the 1/1 is a different scenario entirely imo

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Jason🎩 pfp

Yep, a lot of those arguments were made at the time… and similar arguments were made when some collectors claimed that you couldn’t sell a 1/1 of an image that had also been sold as a physical print. It’s the Wild West, and the rules are made up as we go.

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Callum Wanderloots ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

Interesting, well that physical part is absurd imo But I guess, at the end of the day, the goal is not to please all collectors, but to find collectors that resonate with your own ethos True fans

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Jason🎩 pfp

Right… when they started saying you couldn’t mint work that had been sold as a print, I asked if that meant they didn’t think I should mint Ke’e Tower, which was shared by NatGeo on their Facebook page and recognized internationally in contests and by magazines… it was absurd. I took that shot in 2016, long before I had even heard of NFTs and all of that should have added to the images provenance and value.

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Callum Wanderloots ✨ pfp

Callum Wanderloots ✨

@wanderloots.eth

exactly! so i think we also have to be careful not to let the opinions of a few collectors skew what actually makes sense for making a successful digital art ecosystem such a cool shot btw

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Jason🎩 pfp

Mahalo… oh, I’ve never been good at doing what other people tell me to do. 🤣

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