A resume is a claim. A link is a fact. foundmaker carries only the second kind — and that single rule is what makes the wall worth reading.
Hiring someone remote is mostly an evidence problem. A portfolio site shows the work you were allowed to show. A resume shows the jobs you held. A case study shows the version of events that survived a marketing review. None of them answer the only question a client actually has: did this person make a thing, and can I go and look at it?
foundmaker answers that and very little else. Every entry is a piece of work with its evidence attached, a person who made it, a starting price and a statement of whether they're taking work. When something interests you, you write to them. We don't sit in the middle.
There are exactly two, and each owes something different.
There is deliberately no third state. No “in progress”, no “coming soon”, no “concept”. The moment a category exists for work that doesn't exist, the wall stops meaning anything.
The order of the wall is drawn at random, freshly, for every visitor. Work entered this morning sits beside work from four years ago. There is no voting, no trending, no editor's pick and no way to buy a position.
This is not modesty about our ability to build a ranking. It's that any ranking becomes a target. Votes reward whoever has an audience already. Recency rewards whoever posts most. Engagement rewards whoever is loudest. Within a year the wall would be a record of who is good at being on foundmaker rather than who is good at making things — and the one useful thing about it would be gone.
Everything a maker needs here costs nothing: the page, unlimited work, invoices, quotes, the commission tracker, the client book. No advertising, no caps, no watermarks, no commission on your work.
The reason is narrower than generosity. The instant we can sell visibility, we have an incentive to make visibility scarce — and a wall whose order is for sale is worth precisely nothing to the client reading it. Charging for reach would destroy the asset. So if a paid tier ever arrives, it will buy convenience, never reach: a domain of your own, a different set of type, the numbers behind your page.
Publishing email addresses in plain HTML means they're harvested within weeks, and the maker's inbox fills with agency spam while real enquiries get lost. Requiring a client account would be worse: a signup wall between someone who liked a piece of work and the person who made it, which is exactly the friction this site exists to remove.
So there's a short automated check instead. Websites stay public and clickable — they're not worth scraping. Emails and phone numbers arrive only after the check passes, and each reveal is counted, which gives makers the one number they otherwise never see: how often their details were actually asked for.
Everything on foundmaker can be done from anywhere and delivered over a wire — copy, design, code, illustration, motion, sound. That isn't a philosophical position, it's what makes the evidence rule work. A piece of software has a URL. A landing page has a URL. A rendered film has a URL. Physical work would need a different kind of proof and a different kind of trust, and mixing the two would weaken both.
No. Browsing, searching and reading maker pages need nothing at all. Only makers hold accounts.
Open their page, pass the check to see their contact details, and write to them. Say which piece you saw and roughly what you need — that is usually enough to start.
How recently the maker confirmed that their price and availability are still true. Since contact happens off-platform we cannot measure reply times, so we say what we can actually observe. After 90 days without a visit we stop showing a price at all rather than show a stale one.
No, and no one else can either. That is the point.
The maker, and their clients. foundmaker claims nothing, and invoices carry no mark of ours.
Everything else on this page is just an explanation of why it looks the way it does.