Workbook Blog:  An interview with Artist Representative David Goldman (2)

always, as I will work tirelessly for you.  3]  Pay attention to details and communicate with me and clients throughout projects. Take notes,  write things down, create paper trails.  Always be responsible to guarantee the success of of each project by asking the right questions.  Don't be a blamer: take responsibility for everything that is within your sphere to control.  4]  I require positive minds and attitudes. Artists who understand that there is no such thing as being "slow".  Slow is your opportunity to build a new series of great images., develop a product, a brand, a book project, add to your stock art collection, jump all over social media to build new followers, refresh your website/blog, etc.

5]  And mostly, I require mutual respect, honesty and trust.

Do your artists create work specifically for their portfolios?  Do you coach them in this area?

Absolutely!  As with a great comedian, timing is everything.  Showcasing the right images to show at the right time ti the ideal target  market is an intelligence that takes many years to learn,

and it's a must to master.  The reason I kept my group small throughout the years is to build very close friendships and/or professional relationships with everyone in the group.  There are some artists who are in touch with me daily and some who are off in there own worlds and rarely check in with me.  The former, of course, get much more out of me and inspire me to advise them to develop images for specific reasons.  Speaking and meeting with so many different types of art buyers daily allows me to be up on how best to meet their latest buying needs.  This info I cull is what I translate to each artist.  Beyond the agenting role of repping talent [sizing up jobs, knowing how to properly bid them, copyright protection] the managing role is one I highly regard and take very seriously, as guidance can be the difference between a weak and strong year for an artist, and in many cases, the artist's family.

What styles are hottest right now?

Not to be too evasive nor self serving in my answer here, but I don't really spend a great deal of time thinking about a question like this.  Obviously artists working with AI and vector graphics are having a field day the past five years or so, because so many clients have gravitated towards the trend and "safety' of presenting flat iconic graphics, especially in the financial, social media and animation worlds.  I function 24 hours a day focused on the best markets for each artist I represent, to find the buyers who consider their work the hottest right now.  Regardless of trends, as far as I'm concerned, it's the brain power artists must exercise to reinvent their thinking and approach to solutions, brands, characters, or self invented properties that are the hottest right now.  May it be James Yang's

"The Impolite Gentleman" comic strip or David Anson Russo's latest brand "What A Great Life", the hottest are creating hot all day long, whether or not the market tunes into it.  With 76 awards for his illustration excellence to his name, Aad Goudappel has certainly become one of the kings in the world of vector graphics illustration. 

The same could be said for the newest member of my group, Kyle Webster and his massively successful KYLEBRUSH brand.

I'm endlessly grateful that enough art buyers around the world believe my group of talent is always "hot" and trusts my judgement and recommendations. 

Whose work do you admire most and why [besides your own illustrators of course]?

There are so many incredibly talented artists I admire, some of whom I have represented in the past, some for whom I still do special "one off' negotiations for and some you've likely never heard of.  Two of my all time faves are Brian Stauffer and Michael Morganstern...it's rare I look at their work and don't think it's brilliant and wish I represented them.  There's 

an amazing renaissance artist I met a few years back named Ron Rundo who's relief works with resin and various styles of illustration totally blew me away.  His portraits are powerful.  I've always been a lifelong fan of Doron Ben-Ami.  He's so intelligent, and his approach to illustration is so fluid and always on target- the king of storyboards!  I'm a big fan of Milton Glaser, Paul Klee, Saul Mandel, Jean-Jaques Sempe, Cathy Bleck, Rina Sinakin, Rosemary Fox, Mike Thompson, Laura Lou Levy, Greg, Spalenka, Arlen Schumer, R Crumb, Cap Pannell, ingo Fast, Campbell Laird, David Plunkert, Keith Bendis, Monica Kelly [N'awlin's finest] and so many more artists.  The "why" is way more difficult to answer: personal taste, unexplainable, positive gut reactions when I see their work, as they each express something very original to me which is captivating and pleasing.  But mainly the thinking behind each piece is most exciting, and/or I admire how they perfectly solved the need for a particular expression of art married to copy. 

Are your artists incorporating GIFs and other forms of animation in their work?  Any longer animated projects?

Yes, many of my artists have mastered motion graphics in different ways, from simple GIFs, to simple short-form and long-form flash animations, which them morphed to HMTL for portable electronic devices and of course, full-scale animations for broadcast.  Working closely now for decades with one of America's greatest animation company founders, Peter Barg of Z-Animation, I have been fortunate to learn so much through his masterful guidance and supreme knowledge in the world of producing animations.  In 2015, the first calls for GIFs we received were from The New York Times and The Wall Street Journal.  As more publications lessen their emphasis on print and spend more money on their online presence.  GIFs and simple animations should prosper going ahead.

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