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Triscuit Is Donating $250,000 to Help Fund Food Maker Projects on Indiegogo

Triscuit Is Donating $250,000 to Help Fund Food Maker Projects on Indiegogo

Brand will be flash funding campaigns in line with its belief that “inspired creativity starts with something simple”

Triscuit partnered with Giada De Laurentiis to make the announcement.

Triscuit is helping to make the dreams of food makers and entrepreneurs come true with its donation of $250,000 to select food maker projects in Indiegogo.

The brand believes inspired creativity begins with something simple, and is flash funding 50 campaigns that it believes are in line with this belief, according to a release.

“Like Triscuit, I have great admiration for today's community of food makers, because I know the kind of work that goes into taking a simple idea and building something impactful,” Giada said. “I'm thrilled to be working with the brand to elevate and encourage new small businesses at various points on their journey from concept to success.”

Triscuit’s generous donation follows an initiative in 2015 in which the brand partnered with five artisanal food businesses to create products that paired well with Triscuit. Julia Nathan, brand manager for Triscuit, says, “Triscuit was started in 1902 by an enterprising small business owner who created a woven cracker starting with three simple ingredients- wheat, oil, and salt. That same dedication to maximizing something simple lives on, and we want to encourage it wherever we find it.”

Funded projects span across the United States and Canada and are both big and small. They include a Vietnamese-style crawfish food truck, a peanut butter and jelly company that gives back, and an aquaponic startup.

“Indiegogo has a robust community of entrepreneurs, makers, and innovators and they, in turn, have authentic stories and passionate communities,” said Slava Rubin, co-founder and chief business officer of Indiegogo. “Triscuit's maker-focused mission is very much aligned with that of our campaigners, so we're incredibly excited to work together on a sponsorship program of this nature.”


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Kickstarter: the crowdfunding site that wants to spark a creative revolution in the UK

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

A still from The Goon: director David Fincher raised £250,000 via Kickstarter to part-fund his animated feature.

T ime was, in the olden days, that in order to create a video game, or fund a film or album, or make a comic, you needed a generous and deep-pocketed patron, or a corporation behind you which thought there was something – profit, in other words – in it for them. There might have even been a grant from an arts body somewhere. Remember them?

Crowdfunding, where large numbers of people donate small sums of money to a project, has changed that. Kickstarter is not the first online funding site for creative projects – ArtistShare was launched in 2003 to enable musicians to bypass record labels, and was followed by other sites such as IndieGogo – but it has gained the most traction and attention.

Since the site launched in April 2009, more than 2.5 million people have helped to successfully back more than 30,000 creative projects. It has helped fund Oscar-nominated short films and put new products on the market. Earlier this year, the creators of a watch that can wirelessly connect to a smartphone raised more than $10m (£6m) on the site after being turned down by traditional investors. The singer Amanda Palmer raised $1.2m (£745,000) to record her album and tour this week, the film director David Fincher reached his goal to fund part of an animated film. In October, a role-playing game developer raised nearly $4m (£2.5m) from more than 73,000 backers. The site estimates that around 10% of the films accepted into the Sundance and Tribeca film festivals this year were funded by Kickstarter.

Until recently, British projects have been hosted on the site, but the funds have needed to go through a US bank account and so they needed a US resident as a co-creator. In November, the site launched properly in the UK, and in the first week, 171 projects were put on the site, raising more than £500,000.

"From the beginning, the philosophy and the motivation behind this has been to be a platform for people to create things and put more art and creative work out into the world," says Yancey Strickler, head of community and one of the site's three co-founders. "The economy for funding creativity is one that is driven by profit and there really isn't a lot of space for people who want to make art for art's sake.

"Each project is judged solely by its own ambitions and not by the ambitions of gatekeepers or the broader market. It's communities of individuals deciding what they want to see exist."

Projects are chosen, he says, according to the rules of the site. "It has to have a finite goal. It's not open-ended, it's not funding a career it's making a record or a film. There are things we don't allow, such as a lot of product-type things." They have to fit one of the 13 creative categories, which include art, technology, dance, film, music and food (the site has helped fund new food products and pop-up restaurants). There is a time limit – if the creators don't reach their goal, money is returned to the backers. If they do reach their goal, backers are given rewards – anything from an executive producer credit on a film to first copies of a comic.

Launching a project is far from a guaranteed success – less than half of the Kickstarter projects reach their funding goal, and around 12% don't receive a single pledge. For those projects that are wildly successful and far exceed their target, it brings new problems as creators are left fulfilling a far larger number of orders for a product than they expected.

According to a study of design and technology projects on Kickstarter by Ethan Mollick, a professor at the University of Pennsylvania, only a quarter delivered their rewards on time. The famous Pebble watch has missed its delivery deadline, and last weekend its creators admitted it still hadn't even gone into mass production. Because many of the tech products funded by the site do not exist – the point of the funding is to create them and bring them to market – Kickstarter has been criticised for "selling" a "hypothetical future product" that may never materialise.

For artists, there is a danger that backers expecting a finished product can put pressure on the creative process. People who funded one musician, Josh Dibb from Animal Collective, to go on a trip to Mali in 2009 have complained they have not received their side of the deal – photographs and a CD of music inspired by the trip Dibb has said he wasn't happy with the music he wrote.

The flipside of fans becoming directly involved in the funding of a project is that they rightly have an interest in where and how the money is spent. Amanda Palmer posted a breakdown of how the money she raised would be spent, and some people criticised her for the amount allocated to pay off debts ($250,000) and produce art books for backers. She faced further criticism after, having raised more than 10 times what she had asked for in the first place, she asked local musicians to play with her band for free on her tour (she soon agreed to pay them).

Creators, and the site, are clearly still feeling their way through the implications of crowdfunding (in September, for instance, Kickstarter introduced new guidelines for design and technology projects to avoid disappointed backers. "The internet has created the opportunity for people to express what they want and Kickstarter gives them the tool to follow it through," says Strickler. "When I'm supporting some band [through the site] I love, I'm not 'shopping' in the record store, I'm creating alongside them. I get to see the thing happen and be part of the process and know that I made a contribution. I think the emotional resonance that comes with that is huge."

Here are some of the projects that reached their funding goals. How was it for them?


Watch the video: How Indiegogo Works in 2021 (November 2021).