First of all, let me start by saying that I’m not a “Journalist.” I’m a Blockchain Evangelical. And I’m here for my people and our culture. Idgaf who you are or what you’re promising on the back end, we kick the tires and check under the hood of every project. Calling balls and strikes and keeping it a buck with the NFT/Crypto community. Now that we’ve got that out of the way let’s talk about the elephant in the room.
Uhm yeah, that’s it, that’s all I can say for sure about this drop. They say he sold x amount of tokens which grant access to some kind of blockchain Spotify/YouTube type platform where you can stream this music exclusively. I have so many problems with this drop, and I’m not getting paid enough to do this to list every single issue I had. Still, I will say that not being able to get a straight answer on how many unique wallet addresses were used in the sale and the total lack of transparency in the way the platform moves have dashed almost all of the hopes I had for it when I initially heard about the release. After spending 2-3 hours grilling a high up from the platform who will remain nameless, the conclusion I came to was that there’s just nothing here to be excited about from an independent artist’s perspective or as an NFT artist.
Ok, cool, now that we’ve got that out of the way, I’d like to say that Tory Lanez and everyone involved should take a bow. Because he’s probably done more to onboard people that look like him into the crypto-NFT space than anyone, period. Kudos to you bro, get ya bag; I ain’t mad.
What I will say is the drop is more significant than the dropper. It’s not about Tory anymore; it’s about NFT’s. The nature of this drop only concerns those of us native to the NFT community. On Reddit, the usual wishful thinking and speculative analysis are going on. IRL, more and more people are researching NFT’s every day, discovering not only this drop but how hot the market is overall. And for the layperson just finding out about NFTs, it’s a cool and innovative product from a familiar face. Whether or not cancel culture and a backlash to it played a part in the success of this NFT is not only impossible to quantify, it’s irrelevant.
Nobody cares. All they care about is the bag. That million dollars he keeps telling them they get to make something off of. Cool, I appreciate you spotlighting elements of Decentralized Finance and screaming from the rooftops that the NFTs are the future. I can’t knock it since It’s my calling in life. But like I’ve said before and I will say again: the ethos of this community is grounded in transparency and immutability. And this ain’t that.
Now whatever this is will shake itself out in the secondary market- which is set to open up on the 24th of August, if the demand is there and the tech is sound we will come back here to the blockchain pulpit and sing their praises till the cows come home. But if they think that we’re gonna fall for the banana in the tailpipe again, guess who’s got another thing coming. Either way, I’ll be back with a follow-up to this story in a few days.
“The NFT World takes all of the knowledge, information, and experiences we have from every industry and flips it on its head by adding layers of true transparency while providing an opportunity of maintaining anonymity.
While this poses great problems and solutions, in the case of Tory’s Album, it’s a problem — because there’s no proof or receipts. Not to mention being hosted on a standalone, seemingly fly-by-night platform that any middle schooler who knows even basic web design, HTML, and/or CSS could produce.
There’s no mnemonic code to keep your wallet safe and secure; you don’t own the actual copyright to the music. The list goes on and on. Having worked in the music industry for a decade-plus. I’ve seen my fair share of lipstick on a pig, smoke in mirror rollouts alongside labels & individuals buying their own records to inflate the image and perpetuate the lie of popularity/interest in a specific project, brand, or product. This is no different, and I feel like watching how the money moves would show us how fugazi this whole drop was.
If you want a Case Study of What Not To Do in the NFT space,
Today we are joined by none other than Superchief Gallery’s Ed Zipco! We’re excited to talk with Ed about our ongoing NFTS.WTF interview series about traditional art galleries entering the NFT sphere. Today’s article, transcribed from a fabulous interview via Zoom, will be the first of three parts with Superchief NYC, so please check back to gain more valuable insights from the gallerist leading the way. Ed, Thank you so much for your time and for allowing us to bring your insights on the NFT market at large, specifically about galleries that have traditionally shown artists pre-NFT world.
Rebecca: You’ve been working with digital artists for six years already and launched the first NFT art gallery, which is pretty amazing! Your first NFT exhibition involved major traditional artists like Logan Hicks, Alex Schafer, Ron English, etc. From a gallerists’ perspective, what was the onboarding process like for traditional artists entering the NFT sphere? Did you have to set up a Metamask wallet for each artist and talk with them about minting?
Ed: Across the board, in March, many artists were unaware of the crypto and NFT world, and their experience ran the gambit. Our first exhibition was about introducing NFTs to our community and then our community to the NFT market, so I feel calling our first show “Season One Starter Pack” was really accurate. For that first group show, we worked with artists to mint for them where the minted works actually say Superchief Gallery as the creator, and we had paper contracts and emails going back and forth to make it known that it was official. I was concerned that artists might rush into the world of crypto and then lose their seed phrase or do something that would damage them long term. We have a long relationship with these artists, some going back ten years, so for me, the most important thing was that their entrance to NFTs was safe, and we’d be giving them a positive experience acting as a custodian in that first wave. Since that is also how Nifty Gateway approaches it, I realized that the creator is always Nifty Gateway. It gave us a little more confidence that we were entering the market in a way that was already happening. After which we’d be able to talk to artists from that point to slowly teach them how to create their wallets, build different relationships with the marketplaces that we curate for or interact with in addition to our own marketplace, and try to find the best and right audience for them online.
Rebecca: That’s interesting that the minting initially originated from the SuperChief wallet.
Ed: For that first exhibition, it was really about us creating an account on OpenSea and bringing our artists’ artwork through that with their information, artwork details and descriptions, and making it, so we have a long relationship with our artist base and our collector base in the art world as a whole. The idea that we would be able to be a trusted, check-verified existence on OpenSea would allow people to feel that they’re getting the real deal. It was a big responsibility to run the accounting for that, and I see what marketplaces go through on a larger scale. It was really important to safely onboard our artists and guide them through the early stages of it. There’s still a lot where our guidance and strategy are a priority today, but at this point, the majority of our artists are starting to make their wallets and be a little more ready.
Rebecca: Yet for the “Cicada and Tymbal” show, which opened at the end of July, Swoon minted those works, right? And then transferred the NFTs to the Superchief Gallery wallet, so you became the custodian until the works find their collectors, is that the second approach you guys have?
Ed: Yes, we worked with her team to teach them the good practices of how to actually have their own wallet and how to get their Coinbase so they can get their money out of crypto when they want to. All of those steps were the beginning of phase two that we’ve been doing, which is encouraging artists to have their autonomy now that they’re ready for it.
Rebecca: The crypto and NFT art world is a black and white issue for many gallerists, yet some galleries in the crossover are intrigued by it but have no footing as to where to start. So knowing what you know now, would you suggest that galleries having their first NFT exhibition mint the artists’ genesis works, help guide them into safe practices, help onboard them into crypto art, and later transitioning towards showing works that are then minted from the artists’ wallets? Is there anything you would have done differently or changed knowing how to help other galleries get into the space?
Ed: For us, it was a bit of a time-specific moment. With the amount of education that everyone has gone through in the last four months, I feel that a much larger percentage of artists are starting to become familiar with it, and in practice, I will be transparent. Many artists are still just learning about it, and they could need that sort of help from their galleries. There’s an important responsibility on a gallery that has real relationships to their artists, that will walk step by step with their artists into this world. I think that for the traditional art world, it’s still so new. There are many ways for people to guide their artists through it.
We actually opened up a consultant arm of our gallery, so now we can properly consult artists that we work with as well as artists that we don’t work with. We also consult for several different galleries now, and there are other people that we’ve signed NDAs with that we can’t discuss who we’ve consulted with also. It’s been really wonderful. Strategy is still super important -how you roll things out, how you talk about those things you’re rolling out, but above all, these are opportunities to connect with your community and connect with your audience as an artist. Encouraging artists and guiding them to a place where they can take that really seriously and embrace the opportunities that are being laid out, that’s our highest and best use.
Rebecca: The consulting arm that you’re building to go along with the Superchief brand will even more solidify your leadership in the space, so that’s great to hear.
Ed: It’s really about information sharing. Some of the best conversations I’ve had are with other CEOs and tech firms that are really doing incredible work. It’s those types of conversations that get us from A to Z. Like sharing information, market trends, strategies on the day in and day out, but even more so really dialing it into the relationships in the community is the core of it all.
Rebecca: It’s the core, not to overuse the buzzword of decentralization, but it’s also the decentralization of knowledge.
Ed: Exactly.
Rebecca: Another thing that galleries are worried about when talking about artist autonomy and decentralization is that galleries don’t want to enter the space because they’re worried they’re going to get cut out of revenue or proceeds from artists’ sales, which is a valid concern. There’s a big enough pie for artists to succeed with or without galleries, and brick and mortar IRL galleries showing NFTs is going to be essential for mainstream, widespread adoption.
Ed: Absolutely.
Rebecca: But not all galleries understand that there are ways to split revenues between artist and gallery through smart contracts, the concept of royalties after the sale on secondary, or talking about who the original creator of the wallet is and why that difference is matters. It’s not just a one time sale where the work is bought from a gallery, and the transaction is done, and the sale is split between them and the artist, but when you roll into secondary markets and revenues, it’s interesting that a lot of gallerists whom I’ve spoken with have no idea how to navigate being able to still get a slice of that initial sale as well as portions of recurring sales on works they’ve helped place in collections, not being a part of secondary, which could all be solved with smart contracts that specify those parameters to each gallery’s and artist’s liking. Every gallery may need to get a dev to write a smart contract just like they’d need to get legal support to write a paper contract specifying all the details. As a gallerist in the space that’s helping pave the way and lay the groundwork for other galleries to follow suit and learn from, do you think that’s it’s going to be essential that galleries show NFTs if it fits with their programming and how much of a percentage should they take? Should it be 50/50?
Ed: Absolutely not. First of all, I think galleries who don’t want to engage with this is because they’re afraid that the democratization of access to artists is going to put them out of business. If that is their fear, they didn’t have a business model to begin with. I think if they’re afraid that suddenly being the doorway to purchase the artwork from them is closed if that’s the only thing they’re bringing to the table, then they should be afraid. I think that’s very accurate. But those are the same fears they put on Instagram; the fact that people can directly talk to their audience, although muted by the algorithm, but can still have a direct conversation to their audience through DMs with their collector base. And those are really selfish responses to an opportunity for artists to be able to support themselves. Artists spend a lot of time and effort building those audiences and making those connections, and to stand between those opportunities and the artist is bullshit.
We as a gallery have always worked hard to step it up and provide value to the artists we choose to support; we work really hard to get them press, their work photographed, to get exhibitions where the community can gather and celebrate that moment, fostering that community and beyond that really having a defined vision for your curatorial style and what you’re trying to push into the world is really where that value comes from. Why we’re involved in the first place, is to support an aesthetic that’s a Venn diagram of our interests and of the artists, and I think that’s holy work, you know? That effort on our part is proving our value to our artists. We have a strongly built relationship with our community that we bring to artists, and trying to always earn it is a healthy way to have a business relationship. It’s the responsibility of the gallery to prove that value. Being forward-thinking when there are new technological advances that could support and benefit our artist base is worth looking into. The opportunity that artists could finally get royalties off their work is worth putting everything into. That’s a complete paradigm shift and watershed moment, and there’s a far better chance of our artists surviving and continuing to make work, which is our highest goal: that these artists can continue to create work and don’t have to compromise or don’t have to stop so they can really follow that career path, which we all want to see as fans. And for those that invest in and believe in artists, we want to enable them resources that are beyond us. That is really important.
In a year, I would be very shocked if every website wasn’t already on Web 3.0 and had their own metamask integration on Chrome which allows people to buy NFTs from the artist website directly; I think that’s a no brainer, just like how people can buy things via Shopify.
Rebecca: Shopify just announced they’ll allow selling NFts!
Ed: Yeah, the access is there. The importance of being a gallery and being a cultural center is that we really embrace and support the artists we believe in, the ones that speak to us, and the ones we really want to get behind. There will always be a purpose in supporting that and a value that we can bring to the table by bringing a community together and showing them something we love. That has its own inherent value.
Certain models may shift as the digital becomes brick and mortar and as more physical galleries begin to engage and work with NFTs. Since the model is really built off a “no overhead” scenario where there is no physical location -you don’t have lights, you don’t have gallery staff to install the works- a 50% cut doesn’t seem as reasonable. Why would you get the higher percentage if you don’t have the general costs associated with running a gallery? So the 15% approach makes a lot of sense, but as that relationship enters the physical gallery again, it would be interesting to see how it shifts and how physical time is considered in that. But I think that’s a future problem; right now, it’s about engaging with the artists we love and with the NFT community and cross-legitimize them in each other’s eyes to boost this moment for the art world.
(End of Part 1 in the Series)
Superchief Gallery NYC is a pioneer in the NFT gallery sphere and is located at 56 East 11th Street in NYC. They have worked with digital artists for six years and recently committed to the digital art frontier by opening the world’s first physical NFT gallery in NYC in March.
Hermine Bourdin is a Self-taught sculptor based in Paris, France. Hermine creates works inspired by the feminine lines of the female body. In her work, Hermine seeks to represent full, proud sensual women. Her work is currently on view in various galleries in Paris, Nice, Berlin, NYC, Copenhagen & Hangzhou. Hermine is currently designing a metaverse where she will premiere her work alongside a group of collaborators in the space.
Your practice is a very formal art form. When did you begin sculpting and why?
I was passionate about sculpture from a very young age. Being a sculptor was a crazy dream I had read and I studied the work of many great sculptors but I had never acted on it. It was only after a big loss in my family that something clicked in my mind and it dawned on me that time goes by so fast…I decided to make the jump and turn this passion into a full-time practice. I had many sketches and ideas of shapes so I started to test various materials to find which medium could work the best for me. I started to take lessons in stone carving, metal welding, plaster moulding, etc. I didn’t know if this envy to sculpt was just a whim or if I was able to produce anything exchangeable for real, I had never sculpted in my life. But the more I was putting energy and time into it the more this envy became stronger and I knew it was it.
What artists do you admire and are there masters you studied that moved you to become an artist?
There are so many artists I admire. I would put Camille Claudel at the top of the list and August Rodin, their work is so alive and intense. The Rodin museum is by far one of my favourite places in Paris. I also admire a lot Constantin Brancusi and Barbara Hepworth, Louise Bourgeois Marisol Escobar and Fernand Léger, the list is endless! I also had the chance to meet Laurence Brice in Biot who was the daughter-in-law of Roland Brice, the ceramist of Fernand Léger himself and I learned a lot from her.
Are there personal experiences from your life that you draw on that influence your work?
Cinema has been a big source of inspiration for me. My parents made me watch many classical black and white movies and I remember loving the Italian films of the Cinecittà, especially Fellini and Visconti. I recall seeing the figures and shapes of Anita Ekberg in La Dolce Vita and thinking ‘Wow, that is a real woman.’ I’ve always admired curvy actresses like Sophia Lauren, Claudia Cardinale, Josephine Baker, Maryline Monroe, those ladies still inspire me today. I’ve always admired curves rather than sharp angles and that’s what made me want to sculpt this way using plump sensual feminine lines.
When I started to sculpt, it was instinctive. It felt very natural to show feminine forms because to me this was the feminine shape is perfection. I think a sculptor always tries to sculpt perfection, at least to their eyes. Some see perfection in angles, squares, or geometric forms, some see perfection in imperfection like with Wabi-Sabi for instance. To me, perfection is found in full, voluptuous, curvy feminine shapes. My women are proud, generous, and protective, at least that’s what I try to portray in my work.
Could you expand on your inspiration to work in the medium of sculpture? Was there a moment you felt called to pursue this passion for working with your hands?
When I was a kid I lived with my aunt and uncle who were craftsmen and farmers, they would do everything themselves, everything was handmade. Living with them for several years I developed the skills of the art of how to use my hands through making cheese, farming, gardening, winemaking, etc! At Christmas time my aunt would make us sculpt figurines using clay. That’s when I first encountered this material that I loved so much. This medium remained dear to me but it was only later that I went back to it. I had the idea that clay wouldn’t work for the shapes I had in mind, that it was too soft and saggy but, it turned out to be the best material for me, a very familiar warm medium related to my childhood. So after trying out stone carving and metal welding I returned to clay and I found it was a very sensual medium, very feminine moreover. I recall a specific instance when I was a teenager having just moved to Paris, I had a friend whose father was a sculptor and I remember being in awe visiting his studio, it felt like this weird déjà vu.
How did you arrive at these unique figurative shapes? What was and what is your process from conception to completion?
I spent hours sketching the sculptures of Rodin and Zadkine or the abstract work of Brancusi, they inspired me a lot. I realize that it’s by sketching that I started to want to sculpt and give life to these drawings. Sketching is a key part of my work.
Every piece starts with an idea and once imagined, the shape is drawn before beginning a long dialogue with the material, doing and undoing the work until each piece comes to life into a perfect balance of curves and movements. Then I start the meticulous process of adding the finishing touches giving each piece its unique sensual texture.
Can you elaborate on your choice of materials and how you decide to use a particular material and its significance in your pieces?
To sculpt in sandstone is very related to what I try to represent, thriving free voluptuous women. I see every woman as a potential sculptor or shaper of life, one can distinguish a womb within the opening of the pieces, but one can also see Earth, homogeneous to my material of choice, and how this same Earth that nourishes us.
I’m also working with plaster, wood and I want to do some bronze casting as well, I want to explore many new materials but sandstone will always remain first.
Your pieces feel evocative in the sense that they can elicit an emotional response to the way we view the female body, fertility, beauty, and sexuality. How do you view your work through this lens?
Since I’ve always been inspired by feminine forms and shapes it was very natural to represent them in my work, and that’s how I wanted to communicate these ideas without words. The message I put forth in my work is my ode to all women. I want to show the beauty of women’s shapes and curves, I want each of my pieces to be very sensual and thriving. I think women should be proud and free, and that’s what makes them glowing and beautiful. Sex is of course an important part as well. I wouldn’t find any pleasure in sculpting very dry and thin figures because to me love, beauty and voluptuousness are synonymous.
Because your sculptures are modeled off of and celebrate the female form do you consider your work as an expression of female empowerment?
I think that’s why women often relate to my work because there is a female empowerment message. I hope my work inspires women to feel more proud, and beautiful. Everything starts with this state of mind.
One of my recent works is a series of 3 pieces together called Sisters where I address sisterhood between women. In this work, I revisited The 3 Graces, this three callipygian Mythological sisters – goddesses of charm, beauty, and fertility. I created each piece in a different hue to stress the beauty of every skin colour and they are exhibited at the König Galerie in Berlin as part of the Messe 3 this August 2021.
You recently brought your physical sculptures into the digital realm. What was your interest in creating NFTs from your sculptures?
It first started when I began issuing Certificates of Authenticity registered on the blockchain with Verisart. That’s when I fell into the rabbit hole of this amazing universe that is NFTs. I quickly wanted to try creating my own and started to 3D scan my work.
I think NFTs are creating brand new opportunities for sculpture. That enables me to animate and play with my physical works. The result of a piece as a traditional sculptor is static and cannot be changed once done whereas NFTs allow me to play between static and kinetic, giving motion to stillness.
I also love this idea of making an NFT for each of my pieces, it’s like capturing the soul of each physical work and giving it another life that I find very interesting. It’s also a way to put my sculptures in different environments, change the colour, etc. I find it very exciting. Learning how to properly use software to achieve these results is challenging but worth the struggle! I mainly mint on Hicetnunc because the Tezos blockchain is quite green and that’s important to me.
Tell me more about what you’ve been doing in the metaverse!
I’m very passionate about the metaverse and I decided recently to create a virtual world together in collaboration with Alissia Spaces. It’s all happening on an island where you can see the sculptures in bigger sizes, scattered here and there. The idea is to give another scale to my work. I like the fact that you can enter this world from your computer without having to download anything, you just visit my website and can access it from there.
When entering the world, you’ll find yourself at the top of the island, inside the gallery I showcase NFT and 3D renders of my sculptures. You’ll be able to teleport at different locations of the island if you wish to see those huge sculptures closer. I am in love with Land Art and my biggest dream would be to make public art one day. I think art shouldn’t be only in galleries or in a luxurious apartment but should be outside, available to everybody and dressing up our streets, parks, and public squares. For instance, some of my favorite monumental sculptors are Jaume Plensa or Alicja Kwade, Manolo Valdes, Prune Nourry. I admire their creations. So this virtual world is a way to share a version that is fun and limitless.
This virtual world is also a place where I can show my latest collaborations with other artists. I am now working on a series of physical and NFT work with a French tattoo artist, she will tattoo several of my physical plasters and we will create a series of limited edition NFTs that I’m very excited about.
To learn more about Hermine, check out her NFTs on Hicetnunc, visit her website, and follow him online:
A great deal of what may be valuable in the future will be understood best by those most familiar with digital culture. “Digital Natives” are nothing new, and surely some of us here are “Digital Natives.” Those who grew up with access to the internet have inevitably become the tech-savvy generations.
There’s no sign that technology will stop, and I doubt that it will go away. The young generation is growing up right in the middle of the technological revolution. It will be possible to collect rare digital art pieces, just as one might collect sports cards growing up in decades prior.
While engaging with this emerging trend early is crucial, the top priority is to learn more about future potential and not just make money. This is rather an exploration of diverse areas impacted by technological innovation previously regarded as unachievable or considered unrealistic.
The NFT revolution will impact countless industries in an unprecedented way. There will be many deep dives exploring what NFTs can be, the least of which is as a fun way for brands to interact with their consumers. A physiotherapist from New York, understanding the concept of ‘NFTs’ and ‘Smart Contracts,’ Dr. Kellen became the first medical practitioner to employ NFTs and Smart Contracts for the benefit of his patients (source: NFT Kids Magazine).
As the world enters the era of digital arts for kids, a new magazine highlights today’s youngest and most promising digital artists and explains how parents can navigate the recent craze ofNFTs.
The ‘NFT Kids Magazine’
On August 31st, 2021, NFT Kids Magazine released its first issue – an online flipbook. Original art and exclusive content from successful kid artists make up the first issue of NFT Kids Magazine: including Nyla Hayes, a 12-year-old Twitter sensation who has now sold more than 65ETH ($172 000) worth of artwork from her ‘Long Neckie Ladies’ collection. Bruno Urli, also featured, is a 16-year-old from Germany who recently sold his first 3rd art piece as an NFT for 1.5ETH ($4k).
“For the newcomers in the NFT scene, NFT Kids Magazine is the new gateway guiding parents and novices on how to navigate and understand their 1st NFT baby steps.”
–Claira Soazandge
The Founder
Founder and editor-in-chief of NFT Kids Magazine, Claira Soazandge, is a French-born British author from Madagascar, based in Seoul, South Korea. She was previously co-editor of a youth publication in London. Claira started the magazine after seeing her son who was a 12-year-old photographer build an online following. He became the magazine’s co-founder.
In addition to Claira’s work as the first children’s story published in an NFT form, she is also one of the first magazine publishers offering NFT advertising on Opensea.io.
“Twenty years on, it is incredible that I can now tap into the knowledge and experience I learned as a teenage editor and share them with my son and other children to help showcase their art. NFTs will change the self-publishing game and how we view copyrighting. Now, artists can take control of their creations and find another way to reach the masses. We plan on having fun with NFTs in different ways so our readers can enjoy discovering our content.”
Claira Soazandge
Meet Some Of The NFT Kids: The Artists
Sevi – “The exceptional work of Baby Banksy, the 9-year-old autistic prodigy Sevi from the Philippines, who is rapidly being compared to the street legend and has sold art for 1ETH ($2.6k).“ -NFT Kids Magazine
Nine-year-old Sevi is an autistic boy from the Philippines that discovered a love for art. At the age of 2 years old, Sevi, one of four kids from a family in Manila, was diagnosed with autism.
As early as January 2018, he attended weekly art therapy classes and loved them so much that he has since painted every week. In addition to being in therapy regularly, Sevi’s focus, attention, patience, comprehension, verbal communication, and other abilities have improved since starting to paint. Sevi took part in his first art exhibition in March 2018. As a crypto artist, he gained fame three years later, in March 2021, and he has since sold NFTs to collectors from Asia, North America, and Europe.
Since then, he has participated in several exhibitions, both on-site and online, and some of his art has been sold, including some commissioned pieces which are used to fund his therapy.
Laya & Eli – Laya from India is already displaying advanced 3D tech design abilities, and three-year-old Eli showcases his collaboration with Diverse, a well-known female DJ from London.
Christopher – Christopher, 12 years old, an NFT Kids Magazine dropper, a young Spacepreneur, and an aspiring astronaut. Christopher has worked on campaigns with Nasa, Airbus Space, and Defense; and represented the US as a diplomat. Christopher has even interviewed Sir Richard Branson regarding recent travels in space in July 2021 for NBC News.
Children today are growing up digitally. That is a fact. Thus it’s imperative that they learn the importance of digital use and citizenship early in a world where technology is an everyday part of life while having fun creating art.
As the “Creator Economy” becomes the next media buzzword for the combined legacy of DIY, Direct-to-Fan, Attention Economy, and Influencer Marketing; NFTs have become an exciting new option for digital creators to monetize their work. This column, The NFT Creator, will track the next phases of what will here be called the “Creator Movement” as it intersects with NFT Land.
About the Columnist: Clyde F. Smith
Since any such column is dependent on its author, let me introduce myself. Currently, I write NFT news pieces for NFTS WTF and also recently wrote for The Defiant. I tend to take a relatively formal tone in these roles and might typically refer to myself as “this writer” if I did have a reason to reference my existence in the piece.
I’m primarily known in NFT Land as the founder of CryptoArtNet, a directory of crypto artists, as the sometimes strident voice of Flux Research on Twitter, and as an NFT business writer as of this year. Up until a few years ago, I went by Clyde Smith until I recognized that using my middle initial would allow me to improve my Google search rankings. So now I’m the king of searches for “Clyde F Smith”.
Back in the aughts, I was one of the first hip hop business bloggers, launching ProHipHop (RIP) as the first dedicated hip hop trade blog in 2004. After selling a group of hip hop-related websites, I went on to write about the music industry at Hypebot with a focus on music tech and the DIY music business.
Much of this music industry writing was informed by my pre-Web experience of DIY and direct-to-fan art and performance in the 80s and early 90s in North Carolina and San Francisco. These experiences were surprisingly relevant to understanding things like internet marketing and growing an online fanbase. They also gave me the perspective to see that the Creator Movement in NFTLand builds upon DIY and Direct-to-Fan history perhaps even more than upon the frontier sphere of influencers; though influencers are a legitimate piece of the puzzle.
My writing about NFT creators is grounded in four decades in the arts and two decades as a web publisher and business blogger. I could also mention a BFA and MA in Dance (UNC-G), MLS in Reference Librarianship (TWU), and a PhD in Cultural Studies from The Ohio State University (2000), but enough about me.
About the Column: Topics and Examples
NFT Creator columns will focus on topics such as the following:
NFT Creator Profiles
Creator profiles could take different forms but will emphasize the business aspect whether looking at an artist’s overall trajectory or a key moment of decision. However, for an artist, artmaking and business dealings are not so readily separated. In fact, these two aspects can often inform each other.
For example, an artist may have a history of creating certain kinds of images for NFTs. Perhaps they decide to introduce something that seems entirely different and which confuses collectors who may not understand the relationship of the old to the new work. Such a column might begin with why the change occurred and then focus on how the artist introduced the new work in a way that revealed their path forward while addressing the confusion of collectors.
Tips for NFT Creators
While creator profiles may include some tips, as described above, they will always be grounded in biographical details of the creator in question. However, NFT creators often have tips to share and recognize that the learning curve for artists new to the space can be quite steep.
The need for such tips will continue to grow as new products become available, older products are updated and the larger context for creator’s work changes. For example, we’ve all been learning what it takes to operate during a pandemic. As new conditions emerge, NFT creators can share tips on many things from maintaining production levels once we’re no longer locked down to how to set up a physical show of digital art.
NFT Creator Opportunities
There are already a variety of opportunities for NFT creators to participate in digital art shows, special events, contests, and site launches. Many more such opportunities will emerge as companies beyond NFT Land recognize that these offerings can introduce them to new markets.
For example, Paris Hilton made her entry into NFT Land earlier this year. Her efforts included promoting her own work and holding an “Empowered by Paris” exhibition focused on female NFT artists. While Hilton’s participation received quite a bit of pushback from some artists, it also introduced her as a celeb who wants to be known for her connection to the community and for her support of other artists.
Tools and Services for NFT Creators
Another area that is growing at an already rapid pace is that of NFT tools and services. This area is quite broad with innovations to come that may catch us all by surprise. So any coverage here will be focused on how a particular tool or service might be worth considering by creators.
Note that any of the above topics might also appear in regular NFTS WTF news coverage. But this column will provide the opportunity to focus less on the news as related to NFT Land as a whole and more strictly on how such news affects digital creators.
Submitting Topics for the Column
If you have news directly relevant to this column, please share it with me via my NFT Entrepreneur contact form. For more general submissions, please contact NFTS WTF via the Contact link at the bottom of each page.
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WTF is a Fluf? Bad-ass 3D bunnies on the blockchain are positioning themselves organically to become one of the top NFT projects in the space. As soon as I saw this super cool 3d rabbit bobbing his head on Fluf.world, I immediately knew something special was being made with this project. I knew nothing about the team, or the project, only that what I saw was intuitively many levels above what I have seen so far in the space. So I have personally been waiting patiently for this project to drop.
Initially, they were set to launch on Aug 5th, on the same day as the EIP1559 update to the Ethereum blockchain, and due to some issues with gas spikes on the network, the team let the community vote on whether to delay the launch for 2 days or not- and the community voted in discord to delay the drop. Much to my frustration because I just wanted my damn rabbits.
Photo Credit: The Cheetah Cowboy King @MetaverseWorld
The Fluf world project has set a new bar when it comes to avatar collectible projects in every aspect of what great execution looks like. The team handled challenges and issues that came up during the launch with transparency and a level of care for their community that was impressive to me as an observer. I spent my Saturday night on Clubhouse with the team and some other excited future Fluf owners waiting for technical smart contract issues to be worked out. They spoke about the issues in real-time and were very transparent during the entire drop. Within 40 minutes of the public launch, they were completely sold out. And the project immediately climbed in value as the eyes on this project understood something was special about Fluf World in fact, before public minting was initiated, some of the limited presales for early supporters were being sold on the secondary market for nearly .5 ETH, this was another indicator of what was to come.
Within just a few hours of the project launch, there was a 25 ETH sale on the secondary market for the single rarest fluff which, at the time, was nearly $75,000 USD. This was yet another indicator for me that there was some serious energy behind this project.
Alex and the team over at Fluf world have built something incredible. The next level for avatar-themed projects has arrived. There is much more than meets the eye with this project and the road map is absolutely insane: from breeding, NFT staking, full access to 3d files, music, and multiple metaverse file formats; there is so much to be excited about. It is important to note that anyone can write a good roadmap, and many teams can create some super dope art. But the combination of all the right elements has come together with this project in a particular and very organic manner.
Within 24 hours, the floor price of Flufs jumped up to 1.78 ETH at one point on the Sunday after launch at a mint cost of .09 ETH. They have blown past nearly every other project on the charts in just 2 days and the momentum does not seem to be letting up. While this is not financial advice It would not be a bad idea to take a deeper look at this project, as I personally believe there is something special going on here. You can see everything transparently on the blockchain using Etherscan where I was able to see in realtime during the launch what commands the team was sending to the smart contract, how many flufs were being minted during the presale, and even tracked how many till they were sold out after the public launch. You can also see how many wallets have over 100 flufs, which at the time of this article’s release is only 4. Learning how to read Etherscan is a highly underrated skill for looking at what’s really going on with a project. Another good resource is Opensea’s Stats page where Fluf has climbed into the top 5 projects in record time selling over 6.8K ETH in volume in just a few days.
Photo Credit: Oncyber.io/fluf
The project is led by a superstar team out of New Zealand and if you check the bottom of the website you will see, Nonfungible labs, Centrality, Universe, and ASM.
It’s important to pay attention to different aspects of a project, like how they respond to their community and handle unforeseen issues, from my observations I have a high level of confidence that this team can continue to execute and do what they say they will do though this is always subject to change- so remaining involved in the community as a collector is always a good idea. Aside from the massive success of this launch that has many whispering, that this is the next Bored Apes level moment in the NFT space, I absolutely love the artwork, the animations, the music, the energy, and the community. I am admitting my complete bias here and my support for this project, however, I do believe there is much to be learned from this launch and this project in general.
Photo Credit @NFTYFARM
There is a new standard for how to execute, what the community wants, and how to treat that community for other creatives in this space. For collectors, you now also have a record of what kind of things can signal or indicate that a project will potentially be successful after a launch. In my opinion, nine times out of ten it boils down to the community. If I have learned anything about successful NFT projects, I believe that creators who can shift from acquiring customers to creating community will win in the long term. The bonds being formed human to human are very real and this level of connection to the various NFT project communities is one of my favorite aspects of NFTs in general, outside of the game-changing societal shifts non-fungible tokens will power into the near and long term future. Show me your Fluf!
— Albert | Web3 Marketing Advisor (@0xcryptovert) August 9, 2021
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Emojis are everywhere today, and while they may be ubiquitous now, this was not always the case. UTB is a hip-hop lifestyle brand founded by Dre Skywalker and Treem Heff in the summer of 2007. The Money Mouth Smiley, as they call it, was copyrighted in the fall of the same year, long before Unicode would include the copycat image in 2015. At this point, the crew at UTB had already surpassed a mere clothing line and had grown into a marketing agency, A&R company, and accomplished lifestyle brand. They had become adept at squashing copyright infringement by that time, but the behemoth that is Apple and its legal team created a situation where it was essentially impossible to retain lawyers or do much of anything at all.
Many find it hard to wrap their heads around the way that crypto art communities have rallied around their avatars as the representation of their membership in exclusive underground networks like the Crypto Punks or the Bored Ape Yacht Club. Similar to the way the Wu-tang logo or the No Limit tank became ubiquitous and lucrative in the 1990s, the late Aughts ushered in acts like Wiz Khalifa and his Taylor Gang movement.
Wiz and UTB formed a partnership in the early stages for all parties involved and helped to change more than just hip-hop culture with their innovative approaches to merchandise and the way they choose to market Whiz as a brand instead of a name as most independent artists do.
Long before NFT’s were a thing, Co-founder Treem, a fine artist and designer, was curating limited-run collections with as few as 15 editions. Many including a one of one sample that was never reproduced. So they are familiar with the scarcity model which has become one of the core concepts of the NFT space. Another facet of the history of UTB I found to be similar to the current practice of airdrops to holders of Tokens was the habit of finding high volume customers in the crowd and bringing them backstage at events and combing through their sales records to track down their biggest supporters to ship exclusive perks to. This fostered a culture of added value achieved by hodling their merchandise. This is the type of growth that is organic and dependant on community building that is a trademark of not only Independent Hip-hop but the burgeoning NFT/Cryptocurrency scene.
Curated by Future Modern on the KnownOrigin NFT Gallery Marketplace on Thursday, Aug. 5, 2021, they will be conducting an auction of a one-of-one NFT consisting of the original copyrighted file for the infamous Money Mouth Smiley. They once again are pushing the envelope with a unique drop structure and a compelling narrative for a community of creatives who are sick of not getting credit for their creations. The story is not only interesting but important for those of us on the blockchain obsessed with hip-hop culture and the provenance of artistic creations.
The drop will offer 3 NFTs in increasing order of rarity centered around the Original Money Mouth Smiley, the original colour UTB smiley designs, the original vector designs, and the original sketch design. The first of which can be found at this link. https://bit.ly/3fzlktR
Who would have thought Jackie and Kelso from That 70s Show would be early adopters in pioneering an animated NFT show called Stoner Cats? Although the name does fit the roles they both played as actors back in 1998.
Despite Ashton’s involvement with cryptocurrencies for nearly a decade, it was Mila Kunis who originated the idea to create the animated NFT show Stoner Cats. Mila explains on their YouTube channel that while stuck in the same house with Ashton during covid, she overheard what others were saying about how digital art was being sold as NFTs. Mila finally asked her husband if she could create an animated show as an NFT, to which Kutcher replied “Well, yes you could!” Fast forward to yesterday’s complete sell-out of Stoner Cats NFTs in 35 minutes.
While some in the NFT community would view this as yet another celebrity cash grab, there is much more nuance to be understood here. First of all, the project has an absolutely insane lineup of all-star talent voicing the characters of this adult cartoon including Jane Fonda, Seth MacFarlane, Chris Rock, Mila Kunis, Ashton Kutcher, and Vitalik Buterin himself. The all-star lineup doesn’t end with the celebrity cast, former CryptoKitties creative director Mack Flavelle is leading the effort along with the animation team of Chris Cartagena, Sarah Cole, and Ash Brannon. This breaks the low-effort celebrity cash grab narrative that in my opinion is really just rooted in a disguised form of jealousy amongst some of the louder voices in the space. There is already a mockery NFT project looking to capitalize on all the buzz Stoner Cats is generating that I won’t even mention here. In my own view, I choose to celebrate the success of others instead of criticizing it, regardless of how successful they were previously. The last time I checked, it takes quite a bit of effort and work to become an accomplished celebrity and to deal with all the haters that inevitably come with it. I spoke with a few other prominent NFT community members within the WTF Dao to get their opinions. Bryan Brinkman had some insightful nuggets he shared with me. “I may be an optimist, but as an animator who has worked in the industry, I’ve seen how hard it is to get a network to approve an idea that doesn’t fit into the mold they are looking for. This space is all about decentralizing and removing gatekeeping and this could prove to be a way for creators to do that.”
“I see this project as a rough roadmap for how creators can bankroll and build a community around their ideas in the same way Kickstarter and Patreon have. The difference here is that as an investor, you hold the value you invested in the Non-Fungible Token. As a supporter, you can help the project grow in value and increase the return on your investment. It’ll be interesting to see how the next wave of projects learn from what did and did not work in this one. I see future examples as having more utility and ownership of the content.”
“This project signals a new wave of “Celebrity NFTs”, prior to this we had some musicians, athletes, and actors joining the space, but none of them had the star power that this project brings. We are now going to see celebrities and influencers that have access to major networks late night and daytime talk shows being able to promote their NFT projects and that is going to onboard a massive wave of new interested collectors that I think will rival the boom we saw at the beginning of 2021.” Bryan’s comments really just confirmed my own observations about what this project was really about. If you are a builder or creator in this space, the selling out of this Stoner Cats NFT project is likely to inject an enormous amount of interest in NFTs, which is a net positive for creators in this space over the long term.
This project was not without its own set of challenges and problems, I was in the Stoner Cats discord when its failure to launch on the original drop date prompted a flurry of anger and frustration along with an overwhelming amount of keyboard warriors with no manners saying things they would not dare say to another human face to face.
The very next day after the team worked tirelessly to fix the issues with the smart contract, they launched on time, however, there was so much demand for these Stoner Cats that gas prices on the Etherum blockchain skyrocketed north of 500 Gwei from less than 30 prior to the launch.
I myself had a transaction that failed after 40 minutes of waiting. According to data from Dune Analytics over $700,000 USD was lost in failed transactions.
I also got to speak with another WTF Dao member, Kai Turner, founder of the Meebits Dao, Experience Designer at Netflix, and Product Content Innovation lead and Advisor to NFT42. This is what he had to say:
“Funnily enough, I pitched a similar idea to the now-Dapper Labs CTO when I was at Sony Pictures Entertainment suggesting that CryptoKitties should do something exactly like this in 2017. So it’s notable that the former CryptoKitties Creative Director is leading the effort because maybe he saw similar potential in the space.”
“In terms of the creative concept, I think they could have set a higher bar. It does feel like someone has asked: What does the crypto community like? Cats and Weed! However, even though these are hackneyed themes within our niche, they might be slightly novel to the broader adult animation audience– so given the names, especially Seth McFarlane, attached — there is still a lot of potential for this to become a quality piece of entertainment.”
“Finally, with the NFT release, lots of complaints about the launch, but for us who have been in the space for a while, we’re used to the gas spikes. Although I think we do need a better model for oversubscribed drops than just pushing the contract and website live – Top Shot is pioneering models here out of necessity. So if it’s queues or tickets or waitlists
– just telling the community to pay a 200% premium on gas is not good enough anymore.
Gas isn’t my main concern though – I think the drop could have provided more variation than the same characters, the characters associated with characters in the show could have been the rarest ones, but why not build out a Stoner Cats universe of all the cats in the world? Even if they don’t make an appearance in the show in season 1 — there is future potential for them to! — maybe as a community reward/competition.”
“Overall, I’m enthusiastic about the project and the hope that it will set a new model for funding content – but like Kickstarter projects in the past, I’ll believe it when I see it … the execution of the final product is what matters most.” – Kai Turner
Photo credit: Stonercats.com
Key Takeaway
For me, the general takeaway is that despite all of the problems with the initial launch, the gas wars, lost funds, and the hate being hurled at celebrities for “daring” to use this nascent NFT technology; this project looks to be a major success in proving NFT’s are a better way forward for creatives in the entertainment industry. The idea that celebrities and all of Hollywood would not eventually be beating down the door to enter into this space is a short-sighted sentiment. There is a tremendous opportunity for those who are open to seeing the importance of this very moment in history as the future infrastructure for nearly all forms of entertainment media, is being built now. NFTs will continue to empower more creators and break down some of the very entrenched middlemen in the entertainment industry. Studios and publishers have carved predominantly predatory relationships with creators, but this new model of funding creative works via NFTs will force them to innovate and alter the way they interact with the true creators of value behind all types of intellectual property. I see a future world where the consumers of entertainment experiences will also be the stakeholders, contributors, and even the co-creators themselves, where the fans can have a more intimate connection and even ownership of the stories they love without all the bureaucratic bullshit, all brought to you by Non-fungible Tokens.
Photo credits: Stonercats.com
Featured image credit: Stonercats.com
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David: In your eyes, what are some of your favourite accomplishments?
WhaleShark: So I think so accomplishment-wise, I mean from an investment perspective, I’ve done extremely well in the space. While I want to take credit for everything, I do think it’s always a tiny bit of luck, right? Or quite a bit of luck. So, I guess my very first accomplishment in the crypto space would actually be buying Bitcoin in 2012 and then selling it all for Ethereum in 2015. I bought Bitcoin at 200 and sold Bitcoin at 1000, bought Ethereum at $8 and then sold at 1,400 and then got into NFTs in 2019.
Because, you know, when I entered into the space at that point in time, there was a lot of ambiguity regarding the future of crypto as a whole, as well as the ups and downs of the rollercoaster. That is, that is the value of crypto in, you know, just being able to buy and hold and to continue to accumulate.
It probably took every fiber of my being because, again, the pricing rollercoaster can really take an emotional toll on a lot of people. I think I’ve done relatively well by, I guess, being very thoughtful about the way that I’ve invested money, about the way that I’ve grown this empire of crypto, as well as investing in a lot of leading projects within the crypto space as well.
So I think that would probably be one of the achievements that I’m very grateful for. Over the past couple of years, the second achievement or accomplishment that I’m very proud of is the relationships that I’ve built up with artists in the crypto community. So again, I know everybody has a lot of different preferences for the type of NFTs that they buy. It’s no secret that I made it very public that I’m a huge fan of crypto art and a huge fan of the digital art scene in general. One of the most enjoyable things and one of the largest accomplishments that I feel that I’ve made is the ability to forge these very positive and very beneficial relationships, particularly for artists within the space.
And to see them grow from selling their art pieces for hundreds of dollars to many who are actually in the whale portfolio now what we sell for hundreds of thousands of dollars, if not millions. So I think that’s another accomplishment in itself.
The last accomplishment probably that is most near and dear to me was actually creating the whale community, right? So basically taking the entire NFT collection, sharing it with an NFT community and seeing that community grow from 500 people to the world’s largest general collector and creator Discord community with over 20,000 members. And you know, that’s been a wonderful journey. It’s a lifelong pursuit of mine and the whale community is going to last for as long as my lifetime and beyond. So I’d say it would be those three.
David: You’ve excelled at being able to select projects very specifically. Ignoring a lot of the fud that’s come out around this space, especially when you started getting into NFTs in 2019, I think it was all fud, more or less in terms of the press around the space. You’ve mentioned in the past that 99.9% of projects fail – what differentiates the valuable projects from the rest?
WhaleShark: So in my previous professional life, I did a lot of market analysis, company analysis, opportunity analysis. Whether that be within categories or whether that be within certain categories of products or whether that be in categories of companies.
I think it was very serendipitous when I entered the space. You had a lot of collectors who didn’t have that background, so I was actually able to develop and apply an investment matrix to really understand which projects I want to hold for the long term. Now, given that you say that, it’s very kind of you to say that, you know, my, my journey through crypto has been very much a playbook. There’s a lot of money to be made both from, as a long-term investor, as well as a short-term trader.
For me, I just don’t have the ability to trade on the short term. So my investment thesis is always based on a longer term horizon. Now, you know what differentiates the 1% or the 0.01% from the 99.99%. It’s really the stability and the pedigree of a project. So what I do as you will see any VC or any investment manager do when they look at a project is the first thing I get to know the team extremely well. Right. I get to know their background. I get to know their expertise. I get to know their wealth of knowledge and really understand how adequate and how adept they are in terms of being able to run a business.
It’s a little bit difficult in the crypto space because we do have a lot of first-time entrepreneurs. But among those, there are some that are extremely talented. And as an investor, what I can bring to the table usually is that business discipline and knowledge that they might not have been able to accumulate over the course of their experience.
So I looked at the team one thing that is extremely important to me, and again, it sometimes does preclude or exclude some opportunities that are extremely innovative. I actually like to look at things that have escalated in value in the traditional and the physical world. And it’s very easy to draw a parallel into the digital and really understand. So, for example, if basketball cards escalated in value in the physical world, it’s very likely that its digital equivalent is going to increase as well. So looking at the product, just making sure that there is a previous case whereby there was a successful case study and it could apply in a digital manner.
The third, most important thing that I look at is the financial health of these projects. You want to make sure that a project can run through the cycles and we’ve seen NFT cycles in terms of bull and bear runs run roughly anywhere between three to four months, each time you don’t want to invest in a project that’s going to go bankrupt in three months, right? Due to poor money management or due to lack of capital. So what’s very important to me is looking at these projects, understanding how long of a runway they have, and understanding how disciplined they are in terms of managing that cash flow. So I look at a lot of different points. I probably look at about six to seven points for each project, but those are the three main points for financial viability that I looked at before investing in anything.
David: Thinking of some of the projects that you’ve invested in and maybe some of your favorites in your thought process. What’s a recent piece, or just a general piece of unlockable content or access that has been granted to you by an NFT purchase that either surprised you or impressed you?
WhaleShark: So I actually bought a couple of locked access NFTs over the course of my career. I would say that the very first one that I bought was actually by DAO records, who continue to be very active in the space. And I believe it was really one of the first unlockable content Ntfs that was ever created. Essentially, Vandal and the team did that I could buy this limited edition gold record, a gold record from Dao records. And essentially, it allowed me to unlock the content prior to the launch as well as receive some additional benefits from actually buying the NFT. So this is really early in the space. And I remember when I did it, I believe the song was called Got Skills. It was done by two Malaysian award-winning rappers. And I really enjoyed the process. I think one of probably the most impressive unlockable content that I’ve ever purchased is actually the auction by Justin Blau.
Once again, it was a record-breaking auction. I was there up against some of the largest collectors; unfortunately, I could only take second place, but it was a wonderful experience. And what Justin did was that he tokenized an entire album, and within tokenizing that album, he had. The drop was very smooth. And instantly, after that auction, I was actually able to log in and unlock all of that audio and visual content actually on that platform itself. So that was an extremely interesting experience and probably one of the smoothest experiences with unlockable content.
David: Amazing. Thank you for that. Thinking about your massive collection at this point- I’m wondering – Do you only buy on ETH? Or do you have any thoughts about projects on MATIC, TEZ, WAX, etc.?
WhaleShark: So I am blockchain agnostic. I mean, you have people who call themselves Bitcoin maxis, you’ve got Ethereum maxis, I’m a use-case maximalist. So essentially I move to the place or I move to the blockchain that shows me that they have the most use case or the best use. If I were a maximalist, you know, again, I wouldn’t have been able to transfer out a Bitcoin all the way into Ethereum.
So I do believe in keeping an open mind and prefacing, my additional comments with that, I actually not only buy on ETH, I also buy on Flow quite a bit. And I’m very excited to see some of the blockchains that are growing native NFTs for the time being. What I really enjoy is: all of the NFTs on Ethereum, all of the NFTs on Flow. I really enjoy what I’m seeing from the two side chains, or layer two. So enjoying what I’m seeing on Matic with the, reduction in gas, ease as well and instant transactions. Also really enjoying being the largest holder of Gods Unchained, which recently unleashed “immutable ex,” which again is another component that will allow people to have instant and low fee transactions.
So I think as the future moves forward, I will go where the best products and where the best creations are, and I’m definitely not closed-minded and just stick to one sort of blockchain.
David: So, after building your $WHALE community and token to such success, what advice do you have for other community leaders in the space looking to add utility to their communities through tokenomics?
WhaleShark: So I’m going to preface my answer by saying that: a lot of social tokens and a lot of communities powered by social tokens have sprouted up over the last six months, right? I do adamantly believe that after NFTs, a very good use case of crypto is for community managers, influencers, and creators to incentivize and drive their community by giving them something of tangible value.
So I think that social tokens are the next wave of innovation that will go into the mainstream. And I’ve actually spent a significant amount of time investing in the space as well. However, many community managers or creators, and influencers don’t realize that you can’t just spend days creating the social token, expecting it to fly. When you create a social token, it’s very much a multi-disciplinary effort. In, economics, in-game theory, and monetary policy, in marketing, and branding, and event management. And in community management, right? So I think there are about seven to ten different disciplines that you need to have. And on top of that, you also need to be extremely active.
I can tell you that within the Whale community itself, our total team is about twelve people. And they are online every single day for 24 hours a day because we’re in different timezones. But over that course of time, we are continually having events, continually having discussions, creating new experiences so that the community feels engaged all the time.
And it is very, very labor-intensive. So I think that’s something that a lot of people who are entering the space really do need to consider as they’re going through this. In addition to that, from a tokenomics perspective, make sure that you have a very solid plan in terms of how the tokens flow, how they’re given away, what people can do with them. But at the same time, you also have to have a very flexible mindset in terms of understanding that you can try things, but you will need adjustments.
I can’t even tell you the number of adjustments that we’ve made to the tokenomics to fine-tune it to where we are today. A lot of trial and error. My friend, I wish I could tell you that we got it. We got it perfect from day one, but it’s been a lot of analysis, a lot of trial, a trial and failure, and you know, again, yeah. Try fast, fail fast, right? And then after that, you succeed. So it’s a continuing project. And again, $WHALE for me is my final project for my lifetime.
So I hopefully will have a very long time to be able to fine-tune it. And it should be a very interesting journey.
Read more about Whale Shark and his ventures into virtual fashion and beyond in part two coming up next week and in the meantime, keep up with him on socials:
Sarah Richardson is a Little Rock, Arkansas-based artist and has been practicing calligraphy for over seven years. Sarah is the author of Copperplate Calligraphy from A to Z: A Step-By-Step Workbook for Mastering Elegant Pointed Pen Lettering and has taught over 200 students the copperplate style of calligraphy. She is a member of The International Association of Master Penmen, Engrossers, and Teachers of Handwriting. In addition, she has studied calligraphy with Harvest Crittenden (Master Penman), Nina Tran, and Heather Held. Sarah has also has done on-site calligraphy for Goop, Tiffany and Co., and has recently been exploring the world of NFTs with her mosaics and other collaborations in digital spaces.
How did you begin your artistic journey as a Calligrapher, and did you find you were a natural from the beginning or did it take time to discover and develop the skill for this very specific medium?
In 2014, I was working as an administrative assistant at a private wealth management firm, and in my free time after work, I’d pursue creative projects like painting or taking acting classes. One of my friends from college had started practicing calligraphy and sent me a quote he had penned in the mail. In the age of texting and Twitter, a calligraphed snail-mailed work of art was pretty novel. I expressed my interest in learning how to do calligraphy, and he sent me pens and started teaching me over the phone. At the time, I was using a broad edge pilot parallel pen and enjoyed it, but soon after, I took my first pointed pen class in person, and I knew that was it. I practiced every day. I don’t think I was a natural, but I enjoyed being able to express myself through quotes, so I kept with it. I took a few more classes and studied from books, and applied myself every day. Before I knew it, I was going to the annual calligraphy conference (It’s a thing! www.iampeth.com) and writing a book on the subject.
I would imagine Calligraphy to be a very meditative art form. Could you speak to your process and the state you step into when you are creating and writing?
Calligraphy can be very meditative, and there’s a physical process to it as well with warming up your hand and arm and having a correct posture. If it’s a quote or I’m filming a calligraphy video, I like to work in silence or have classical music playing in the background (I know, very cheesy, but it helps!) However, if I’m working on a large envelope order for a wedding, I’ll have Schitt’s Creek or a podcast playing in the background.
Can you speak to the sacredness of your calligraphy practice, and do you feel a connection to its history, specifically your influences?
The messiness of my desk would beg to differ about any sacredness, but I’m trying to be better about this! I do have a sort of reverence for the work of Master Penmen in the past, though. My favourite books to study are those with specimens from the late 1800s and early 1900s, sometimes referred to as the Golden Age of American penmanship. This includes The Zanerian Manual, F.W. Tamblyn’s Home Instructor in Penmanship, and editions of The Business Educator. I think they are our best instructors.
Do you find inspiration outside of calligraphy? Are there other art forms that you want to explore that you haven’t?
I’m inspired by architecture, history, and music, but I think the thing that really lights my creative fire is human rights. I’m often told I should keep my politics out of calligraphy. Calligraphy rides that line between craft and art. I’d love to explore painting portraits.
Coming from a very traditional background as a Calligrapher with an extensive and rich history, what are your thoughts about your work existing as an NFT on a digital platform?
I love it! Instagram helped bring calligraphy to so many people that hadn’t come across it before, and the art form experienced a kind of renaissance. With NFT technology, we have a way to mark the provenance of these images and videos and have more assurance that this art won’t be lost to history. While texting, speech to text, voice messaging, etc., is amazing and helpful in so many ways, it’s important that the written word with the human hand does not disappear.
Could you talk about the inspiration behind your NFT mosaic works and how this project began?
I had seen other designers create digital mosaics and decided to learn by taking a class on Skillshare from Molly Suber-Thorpe (who is also a calligrapher). Not only do I love the way they look, but I also love the tedious and meditative nature of creating them. I love that, like calligraphy, they can simply be decorative, but they also are a medium through which you could say more. When I learned about NFTs in February, I was so excited because these projects were purely digital. I think the decorative arts have a place in the NFT world and like to say that I’m designing floors for your home in the metaverse.
Are there any new projects, collaborations, or NFT drops you are currently working on?
I am currently working on completing my alphabet “fauxsaic” collection onBitski.com/sarahscript. I first loved their site design and had heard good things about their team from a friend, so I applied. At the time I was onboarding to Bitski as an artist, I was getting nervous about being in the crypto world, and Bitski provided a kind of bridge to crypto while still getting paid in FIAT.
You’ve worked commercially with luxury companies like Goop and Tiffany & Co. while creating an artistic practice in the NFT space. Do you differentiate between the two? If so, what is the difference in your mindset?
On the one hand, calligraphy is the stable side of my work, while the NFT side is a little riskier. I’m careful not to put all of my eggs into the NFT basket, not only because of the risks associated with cryptocurrency but also because I still just love putting pen to paper.
To learn more about Sarah, check out her NFTs on Foundation, visit her website and follow her online:
You probably wouldn’t believe me if I told you that 70 years ago, your government rounded up homeless kids and then started using them for scientific experiments before blasting them off into space. Of course, this never happened, yet it did happen to man’s best friend. Exactly 70 years ago today, the first attempted flight to space carrying two such dogs returned them both safely back to earth, while other launches resulted in canine deaths. Nearly 100 dogs have been to space from different programs, and in 1957, Laika (nicknamed a “Muttnik” in reference to her being mixed-breed and the first spacecraft, Sputnik) became the first living being to die orbiting the earth. Laika’s involuntary act of courage is commemorated today with Cosmic Paws, a generative art collection of NFTs celebrating the illustrious history of dogs in space.
“This is all about the love of two things, art, and space,” says Mike Mongo, astronaut teacher and author of the children’s book, The Astronaut Instruction Manual. “The Muttniks led us to space. They get to be part of our future as well as our past,” Mongo emphasized. An official ambassador of ULA-supported Johnny Appleseed in Space and founder of The Humannaires Initiative, Mongo has owned and trained dogs since he was a child and loves space as a source of inspiration. “Creators are collectors,” he said. “We don’t get to generative NFTs and collectibles without comic books and trading cards,” Mongo reminded us. “I collected comic books and Garbage Pail Kids. I will always collect street art and stickers,” he said.
If randomly generated collectible NFTs were rated by their visual aesthetics alone, Cosmic Paws would certainly vie for Best in Show. Noteworthy differences that separate this project aesthetically from many of the other randomly generated NFT projects are that Muttniks aren’t 8-bit designs; they’re also female. “This is something I haven’t seen much of, which is a very female point of view,” says Kyle Schember. “I think it’s really fun. Let’s hope the art speaks for itself.” Each Muttnik will cost .06Ξ each, and none of them will be gifted or given away; this is an entirely random collection that affords anyone a fair and equal shot at something rare, even if it takes a year to sell all 10,000 of them.
cosmicpaws.io
Another interesting aspect of this sales process is that each potential collector can perform a REgeneration to discover what their Muttnik will look like in advance of minting the NFT to the blockchain. Until now, collectors typically purchase randomly generated NFT collectibles sight-unseen at the point of minting, or they’re forced to patiently await the NFT reveal date. For Cosmic Paws, you can generate a different Muttnik over and over until you like something. You might generate a Muttnik you love—spin again anyway, and get a Leika you don’t like very much. “When a Muttnik is REgenerated and not claimed, there is practically zero chance that version will be seen again,” Mike Mongo emphasized. You may really like your Leika even if it doesn’t look rare, yet nobody will know if it’s rare until the entire project is revealed. This strategy can captivate collectors as they continue to calculate the supply of rare based on the scarcity of Muttnik attributes that have already been minted. Unknown possibilities present an intriguing gaming aspect for crypto art flippers to become collectible art REgenerators.
But wait—where’s the utility? “What we do know, is how to write on the blockchain, and we figured out the random generator, which was really, really tough,” says subtractive. To reward its community and cultivate a creative arthouse of space dogs, the first 5,000 Muttnik token holders will begin a voting process to select a remix artist from the community while a “Paws in Space” selection committee of top collectors considers the next project from a list of dog space heroes. The winning community artist is announced and onboarded to use the Muttnik regeneration platform for a Laika V2 Muttnik remix. “We will onboard them to do their own collection, through our platform, then wash, rinse, and repeat again,” says subtractive. “ We can work with artists who don’t know how to do this so artists in our community can be the next in line to produce the next round,” he said. “You have full permission to print, do t-shirts, do whatever you want with it.”
cosmicpaws.io
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On July 8th, avatars from around the world gathered in Decentraland (DCL) for ten days of art and music. With numerous galleries already in DCL (Sotheby’s & MOCDA ), this art week welcomed new collections from top NFT platforms and crypto artists as well. 💯xARt and NFTs.tips closed the week with a full day of events curated by David Cash, Glassy Music, and Pilar Côté. In addition, Nix Crypto moderated live discussions throughout the afternoon.
With 100 artist-built galleries, the Vegas Arts District was shining bright! Avatars showed off their dance moves in the main square with live music and new art installations. Visit the ongoing exhibitions here.
Philip Colbert worked with the renowned B52’s and DEVO to bring Lobsteropolis to life. A large-scale interactive installation featuring his signature lobster characters. Visit the lobster city here.
DAY 2
BACK TO AMY: PHOTO EXHIBIT
(Photo by Charles Moriarty)
In the Festival District, Casa Azul displayed an intimate photo series featuring Amy Winehouse. Photographer Charles Moriarty recalls his time with the profound artist before her untimely death.
(Photo courtesy of Festival Land VR)
The event was a mixture of tears and smiles as avatars viewed Moriarty’s work. In addition, unique DCL wearables are available, giving users exclusive access to a live stream of the Back to Amy Benefit Concert on July 23rd. View the exhibition at Casa Azul.
The latest addition to the Voltaire Art District, Portion Auction House exhibits collections of photography, comics, digital arts, and physical arts. There are even a few iconic memes as well. Visit their new gallery here.
DAY 3
MIAMI BEACH ART COLLECTION by PLAYBOY x SUPERRARE
It was a wild Playboy party in Crypto Valley. Celebrating their Miami Beach Art Collection, Playboy and SuperRare auctioned several exclusive collaborations and exhibited past iconic cover issues.
KnownOrigin hosted a 3-hour music festival and art showcase. With a new dancefloor and live-stream DJs from around the world, it was one of the most popular events of DCL Art Week.
Celebrated artist, Begoña Toledo (aka Boxhead), presents a large-scale installation of her iconic character featuring three of her latest NFTs on Foundation.
The Museum of Crypto Art (M○C△) opens its metaverse sculpture garden and hedge maze. Within the winding garden, paths reside ten 3D surrealist objects with Hackatao’s famous ‘Hack of a Bear’ in its center.
NFTs.WTF partners with 💯xARt Community to bring a full day of music, art, panel discussions, and fashion! Be sure to visit the new 100xARt gallery now open.
Here are the community day highlights: Architecture Panel
Krista Kim of Mars House discussed the ‘future of spaces’ in architecture and design. Virtual and augmented reality experiences dissolve the limitation of physics. With new metaverse platforms emerging rapidly, it’s clear there will be no shortage of creativity in spatial design.
As we explore new possibilities with blockchain technologies, how can they be utilized for social good? Nahid Shahalimi of We the Women & Stand up for Unity held a panel to discuss humanitarian efforts in the crypto space.
David Cash held a panel of the top trailblazers in digital fashion. Wearables in the metaverse have been on the rise. Digital fashion drops are selling out in seconds, with many items worth more than physical luxury brands. As the industry grows, how will fashion and identity evolve with it?
Glassy Music and Low Sleazy discuss how NFTs can empower musicians and artists. Intellectual property (IP), decentralized finance (DeFi), and collaborations all play a vital part in rewarding creativity in this new territory for music.
Award-winning filmmaker, Jonny Caplan, speaks with NFTs.tips about how blockchain tech can be utilized for film creatives. His latest project, NFTme, is a complete documentary series covering critical developments in the NFT industry. Due for release in late 2021.
Jonny Caplan – Filmmaker, CEO, Tech Talk Media & Impossible Media
