Tom May, writing for Creative Boom, says the old bargain for independent creatives is breaking: make good work, publish it well, and the web would direct a few customers to you. The old SEO problem was already bad enough after Google’s AI Overviews, but May is pointing at the next step, where the answer is presented to the user without having to visit websites.
The web, it said, is moving “beyond the traditional search-and-click model toward a more conversational and generative web,” where brands now compete “not just for attention, but for recommendation, relevance and action”. That might sound like a boringly technical sentence, but buried within it is something very profound that affects every creative working today.
Because what it describes isn’t just a change in how Pinterest sells ads, but a fundamental change in how people find information and inspiration online. And if you’re a creative, the implications for whether you actually get work in future are huge.
May again:
Nowadays, when someone types “find me an illustrator who works in cut-paper collage for a children’s book”, AI returns an answer, not a list of links to explore. It decides who gets named, and there’s no way to influence it: no ad slot to buy, no SEO lever to pull.
And how does it reach this decision? AI platforms lean on aggregate signals: who’s already cited, listed, written about, and linked to. This favours the already-famous and the big studios with a deep web footprint, leaving the vast majority of smaller independents floundering.
It’s a virtuous circle for the former, a vicious one for the latter. The visible gets recommended, and the recommendation makes them more visible. The talented new graduate with a thin online presence isn’t in AI’s field of view, so they stay invisible forever.
For designers, that changes the portfolio from a gallery into a set of reputation signals: named projects, credited collaborations, interviews, and references that point back to a specific person or studio.
In a market where output gets easier to generate and distribution gets harder to earn, distinct judgment and identifiable work become business-development assets. The work has to be specific enough, and trusted enough, to be requested by name before an AI system is asked for a recommendation.
In this shiny new world of AI, you can’t optimise your way into a recommendation, the way you once keyword-optimised a website. Recommendation runs on reputation signals that a system can read: being named in other people’s work, on lists, in interviews, in the press, and in collaborations. So the answer for creatives isn’t to play the algorithms harder. It’s to become the name people and systems already trust enough to surface.
One part of that is to own your relationships. A newsletter list, for example, is a direct connection that no algorithm can intermediate away. A community of people who’ve chosen to hear from you isn’t subject to a platform’s recommendation logic. Look at how designers like Liz Mosley have built something genuinely resilient: a website, a podcast, templates, resources; an audience that actively follows her work rather than stumbling across it.
Another is to get cited and named, because getting talked about (positively, of course) is the new currency. This means leaning on the channels no algorithm can gatekeep: word of mouth, referrals, events, and real rooms. And in your work, aiming to be a category of one, with a style so specific it gets requested by name rather than retrieved by attribute. The creatives who get asked for by name are the ones that AI can neither replace nor substitute.
Lee Brown, Pinterest’s chief business officer, frames it this way: “The future of discovery won’t be driven by keywords alone. It will be shaped by context, taste, and trusted recommendations.” He’s describing his platform’s perceived advantage. But he’s also, accidentally, describing yours.
