Offers from immalex
Painted, Then Posted for Good
Your product ends up in a piece of work rather than in a photograph of it. I paint and I work digitally, and a commissioned post means the thing you sell appears inside an image I made — held, worn, part of the composition, rendered rather than photographed. That is a different object from an advert and my followers treat it differently, because they came here for the work. 8,100 people follow me from Ipaja, mostly young Nigerians who follow art accounts rather than brand accounts. Anything with a strong silhouette works best; anything that depends on fine print does not, because I am drawing it rather than shooting it. Send me reference images from several angles and tell me what absolutely has to be recognisable.
Watch the Piece Come Together
The reel is the piece being made, from blank to finished, with your product in it. Time-lapse of the work with the product either depicted in the image or physically in the frame beside me while I paint. People watch a piece come together the whole way through, which is not something most branded video manages — the format holds attention by itself. 8,100 people follow me from Ipaja and they are here for process more than for product, so anything that interrupts the making will get scrolled. Tell me whether you want your product inside the artwork or beside it, because those are two different commissions and the first one takes considerably longer. Give me a fortnight either way.
An Idea, Drawn Rather Than Filmed
Art can carry an idea that a product shot cannot, which is the only reason to book this rather than a normal reel. If your brand has something to say — about where it comes from, who made it, what it stands against — I can build a short visual piece around that idea with your product inside it. Not a demonstration. A short film made of images. 8,100 people follow me from Ipaja and they share work like this rather than scrolling past it. It needs a real idea to work, though. If what you want is the product shown clearly, buy the making-of reel and I will keep it simple.
Artwork Files, Yours to Run
The files come to you and I keep nothing on my page unless you want it there. What I can shoot that a normal UGC creator cannot is anything involving making — hands working, materials being used, a process in close-up. Paint, ink, tools, paper, tablets, brushes, anything that ends up in a working artist's hands. I film several takes and hand over the footage for your own channels. 8,100 people follow me from Ipaja, but that number is not what you are buying here. Send me the shot list and tell me whether you need the work finished on camera. If you do, allow a fortnight, because a piece rushed to a deadline looks rushed and that is not what you want your materials attached to.
Materials, Tested by Somebody Who Paints
Materials get reviewed by people who do not use them, which is most of what is wrong with art marketing. I paint and I work digitally, so when I test a brush, a paper, an ink or a tablet I am testing it against the thing I would otherwise reach for. The video shows the technique, where the material helps and where it does not hold up — bleed, tooth, blending, whether the colour dries the shade it looked wet. 8,100 people follow me from Ipaja and a lot of them buy materials on a student budget, so what it costs relative to what it replaces matters more here than it would elsewhere. Send me the product and the technique it is meant for. If it does not perform I will say so, which is the arrangement.
The Wrapping, Then the Work
The wrapping matters to me more than it would to most people opening a box on camera. Art materials arrive damaged constantly — paper creased in transit, a nib bent, a tube split. So the unboxing covers how it was packed as well as what was in it, and then I use the thing immediately so you get the first mark rather than only the reveal. 8,100 people follow me from Ipaja and most of them have had an order ruined by a courier. Send it packed the way a customer's order goes out. If your packaging is the weak point I would rather you found out from me than from a review.
In the Studio, Uncredited
In the studio, uncredited, which is a different thing from the commissioned work. Your product sits in the frame while I am working — on the desk, in the jar, in my hand between strokes — and nothing is said about it. It reaches people who follow me for the art rather than for recommendations, so it arrives without any of the resistance a sponsored post meets. 8,100 people follow me from Ipaja. Tell me if the label has to be readable, because a tube standing at the wrong angle is just a tube.
Sketches, Frames and a Brand
Sketches, half-finished frames and whatever is on the desk, posted while it happens. Stories from me are the working day rather than the finished piece — the thumbnail that did not work, the colour I mixed wrong, the bit I redid four times. Your product appears in that as a tool rather than as a subject. People follow me for the process and they watch these the whole way through because they want to see whether it comes right. 8,100 people follow me from Ipaja. The honest limitation is that I cannot promise which frames it appears in, because I am not staging the day. If you need guaranteed placement, the commissioned post is the one to buy.
Work in Progress, Posted Live
Work in progress, posted while it is still wrong. That is what Stories are for on an art page — the ugly stage, the correction, the thing I painted over. Your materials appear in that as what I am reaching for rather than as a product being shown. It is the least polished thing I sell and the one people watch most closely, because they want to see whether it comes good. 8,100 people follow me from Ipaja. Send materials rather than a finished product to photograph; this format needs something I can use.
Quieter Than Most Takeovers
A studio day handed across, which is quieter than most takeovers and I should say so. There is no travelling about and no restaurant. It is a desk, a piece being worked on, several hours of the same thing getting slowly better, and your product in the middle of it. People who follow me stay for exactly that, but if you want variety across the day this is the wrong format. 8,100 people follow me from Ipaja. What a full day gives you that a single frame does not is the arc — the same materials at the start, the middle and the finish, so somebody watching sees them survive several hours of use rather than one clean shot. Send materials a week ahead so they are already broken in.
Named From the Desk
Named from the desk, mid-paint, while people are already watching me work. My lives are not events — I put the camera on and keep going, and somebody who joins gets a conversation rather than a broadcast. Your product gets mentioned in that with whatever you want said, and if it is a material I am using I will say how it is behaving. 8,100 people follow me from Ipaja. Send me the line and, if it is something I can hold up, send it early enough that I have used it before I talk about it.
Draw While You Talk
I draw while you talk, which solves the problem every co-hosted live has. Two people talking about a product for an hour is dull and everybody knows it. If there is something happening on screen the whole time — a piece going from blank to finished — people stay for that and absorb the conversation alongside it. So bring somebody who can talk about your materials while I use them. A chemist, a product developer, whoever knows why the pigment behaves the way it does. 8,100 people follow me from Ipaja and they will ask technical questions about lightfastness and drying times that a marketing person cannot field. Send the materials a week early so I am not learning them live.
A Piece of Mine and Yours
A piece of mine goes in the box alongside whatever you send. That is not generosity, it is what makes people enter. My followers want the artwork; your product comes with it and gets introduced to somebody who would not otherwise have looked. An original or a print, depending on what we agree. 8,100 people follow me from Ipaja and most of them make things themselves, so materials, tools, storage, framing and anything a working artist buys all fit. I run the announcement, the rules, the reminders and a public draw. Tell me your shipping scope. If you can only ship within Lagos, say so and I will restrict entry to Lagos rather than disappointing somebody in Kano.
A Commission, a Reel and a Post
A commissioned piece, a reel of it being made, and a post when it is finished. The artwork is the thing you actually keep. I paint or draw something with your product in it or built around it, and the file comes to you at print resolution to use however you want. The reel is the making — blank surface to finished piece, which people watch the whole way through — and the post is the finished image on my grid with you credited, staying there afterwards. 8,100 people follow me from Ipaja, mostly young Nigerians who follow art accounts rather than brands, which is why a commission lands differently here than an advert would. Tell me before I start whether the artwork is going on a package, a wall or a screen, because those want different proportions and I would rather build it right than crop it later. Allow a fortnight.