Drop your art, pick how people get one, and share a link. From a phone, in about ten minutes.
One folder per layer, a number in a file name to make something rare. Everything after that happens on one screen, and nothing on it asks you to know what a contract is.
Slide rarity, write rules like “never a crown on a triangle”, reserve a one of one. A check tells you if it cannot work, and how to fix it, before you generate anything.
Every piece unique, every rule kept, every count exact. Keep the seed and the same set rebuilds forever. Your files go to IPFS so the art outlives us.
Pick how people get one, sign a handful of times with plain English in front of you, and share a mint page that works on any phone.
Most drops have one price, and the artist keeps the money. We call that an Art Drop and it works fine. A KURV drop does something no launchpad has done: the price climbs as people buy, the money stays in the collection’s vault, and the vault will always buy your piece back. You are never stuck holding something nobody wants.
Most drops have one price, and the artist keeps the money. We call that an Art Drop and it works fine. A KURV drop does something no launchpad has done: the price climbs as people buy, the money stays in the collection’s vault, and the vault will always buy your piece back. You are never stuck holding something nobody wants.
Selling back walks the price down the same curve it climbed, and the vault always pays out less than it took in, so it cannot run dry. Who holds it? The collection's own contract. Not us, not the artist. There is no withdraw button for anyone, which is why the Floor is a fact and not a promise. And Maria's cut lowers the Floor by exactly that percentage — a fifth taken is a fifth off the Floor — which is why the number is on the page before anyone buys, not after.
Most drops have one price, and the artist keeps the money. We call that an Art Drop and it works fine. A KURV drop does something no launchpad has done: the price climbs as people buy, the money stays in the collection’s vault, and the vault will always buy your piece back. You are never stuck holding something nobody wants.
Selling back walks the price down the same curve it climbed, and the vault always pays out less than it took in, so it cannot run dry. Who holds it? The collection’s own contract. Not us, not the artist. There is no withdraw button for anyone, which is why the Floor is a fact and not a promise. And Maria’s cut lowers the Floor by exactly that percentage — a fifth taken is a fifth off the Floor — which is why the number is on the page before anyone buys, not after.
