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Visual Artists, Protect Your Copyright!

Posted by Workbook on 07/02/2015 — Filed under:  FeaturesHeadlineIllustrationMarketing IntelligencePhotography


Illustration Partnership of America logo.jpg

The Illustrator's Partnership has been monitoring the Congressional hearings on the United States Copyright Office's attempt to re-write the U.S. Copyright Act. For visual artists, one of the most important aspects of the debate is the issue of Orphan Works.  In a recent notice, The Library of Congress, U.S. Copyright Office is seeking commentary on "how certain visual works, particularly photographs, graphic artworks, and illustrations, are monetized, enforced, and registered under the Copyright Act."

The Illustrator's Partnership has been an active force in protecting artists rights and states the following facts on their website:

-The "Next Great Copyright Act" would replace all existing copyright law.

-It would void our Constitutional right to the exclusive control of our work.

-It would "privilege" the public's right to use our work.

-It would "pressure" you to register your work with commercial registries.

-It would "orphan" unregistered work.

-It would make orphaned work available for commercial infringement by "good faith" infringers.

-It would allow others to alter your work and copyright these 'derivative works" in their own names.

-It would affect all visual art: drawings, paintings, sketches, photos, etc; past, present and future; published and unpublished; domestic and foreign.

Illustrator's Partnership also offers  a complete overview of this important issue , how to write effective commentary,  and provides access to the organization's previous filings. Make your voice heard by sending your digital comments (only) to copyright.gov by no later than July,23 2015

Hello Summer! It's hot in Hell's Kitchen!

Posted by Workbook on 07/02/2015 — Filed under:  FeaturesHeadlineIllustration
By Jeanine Henderson

I’ve been a resident of the Hell’s Kitchen neighborhood in NYC for the last 3 years, and absolutely love it—such a vibrant neighborhood and great community! So I was thrilled when w42st Magazine, a free publication & online resource featuring all the fantastic things there are to see, do & eat in Hell’s Kitchen, asked me to create the cover for their “Summer Fun” issue. They gave me tons of creative freedom with this, and I loved illustrating something I have such a personal connection to. The issue is out now! The online edition can be seen here, and printed copies are free in coffee shops, bars, restaurants, and other small local businesses & residential buildings throughout the Hell Kitchen area.



Winners of the Workbook Print Page Drawing

Posted by Workbook on 06/30/2015 — Filed under:  FeaturesGalleriesHeadline
Congratulations to Dan Cosgrove and Moshe + Rivka Katvan!



Dan Cosgrove (above): From his office in Chicago's historic Fine Arts Building, Dan continues to turn out work for a wide variety of international clients.
Specializing in illustration and design, his artwork has appeared in numerous ads, posters, packages, annual reports, and on the Internet. Dan enjoys doing illustrations that incorporate type and can also be called on to design and illustrate corporate logotypes and icons. A winner of numerous major awards including a Gold Medal from the Society of Illustrators, Dan's work has appeared in Communication Arts, Graphis Posters and Design Annuals, 3 x 3 Annual, as well as the Society of Illustrators Annual.
A native of Cincinnati, Ohio, Dan graduated from the University of Cincinnati with a major in graphic design. After a brief stint with the National Park Service in Denver and as a designer with Cato Johnson in Cincinnati, he moved to Chicago to begin a freelance career. Dan and his wife now live in Clarendon Hills, Illinois. The Fine Arts Building was originally built for the Studebaker Company and has been an artist haven since 1898. It's home to painters, dancers, musicians, instrument makers, and more. Located on South Michigan Avenue, it's just blocks away from the Chicago Art Institute, Grant Park, and the Lakefront.


Moshe + Rivka Katvan (above): Moshe and Rivka Katvan met while attending the School of Visual Arts and have been partners in life and photography ever since. They are yin and yang of the studio, with each one’s unique skills combining to create a whole greater than sum of its parts. Moshe shoots all still life projects, while they collaborate on people shoots. Rivka is well known for her photographic studies of the Broadway theatre, as seen in her recent Abrams book, Backstage: Broadway Behind the Curtain. Moshe’s years of still life experience has helped him hone his classic technique, yet he is always one of the first to adopt new creative trends and digital technologies. The studio is equipped with state-of-the-art digital capture and offers full post-production services; scanning, retouching, compositing, and calibrated outputs.

Above all, Moshe and Rivka are client-friendly. They always go the extra mile to fulfill an art director’s needs and vision,whatever the size of the project. And their clients always leave satisfied — with the work and the fabulous spread Rivka always provides. It’s this kind of personal warmth and professional excellence that has led to many long-lasting relationships with most of the people they work with.

Inspired by Fairytales

Posted by Workbook on 06/30/2015 — Filed under:  FeaturesHeadlinePersonal WorkPhotography


Peter Samuels has photographed a lot of animals. Log on to his website (read his bio, too), and you'll see wonderful themed galleries of cats and dogs and horses, but the most intriguing gallery is "fairytale inspired." It's  a diverse gallery;  some of the animals would be classified as "wild," some domesticated.  But the decision whether  to include an image or not became more about how "real" or "stuffed" the animal appeared, and in many cases, it's hard to tell.  This quality gives each one a slightly surreal look, while at the same time the animal appears so disarming, and conveys  personality that could be the lead character in a fairytale.

Owl studio portrait  Fairytale Inspired

Rabbit portrait  Fairytale Inspired

Ewe studio portrait  Fairytale Inspired

Screech The Owl portrait  Fairytale  Inspired

Donkey portrait  Fairytale Inspired

Raven Portrait  Inspired by Fairytales

How to Put Together an Award Winner

Posted by Workbook on 06/30/2015 — Filed under:  Award WinnersCGIFeaturesHeadlinePhotographybehind the scenes


Tim Hawley recently created these images for Connelly Partners/Boston and their client, Samsonite Luggage. The art director, Jonah Hulbert, had  a very specific set of  images in mind for the project, which required Tim to shoot and pull together artwork to create pieces that are fantastic yet "visually believable."  Building three master artworks with multiple derivative sizes for various OOH uses and different print placements was a very collaborative process that  took about a month from start to finish.  There are approximately fifteen elements per image. Every item in the image is on its own layer so it can be edited separately from the rest of the image.  There are up to five sky images in each composition and even the clouds are separate from the “blue” so that everything can be moved and adjusted to match the art director's wishes. The shadows are absolutely key in creating "believability." The art director recognized, for example, that the cast shadows on the ground should have more texture and look "crunchier" than the surrounding salt flats, and the shadow where the hands touch the luggage is a subtle detail, but essential in creating believability. The judges at Communication Arts were also impressed and included these three images in this year's CA Photo Annual.

Having given the client so many options in the form of unflattened files that can be manipulated for so many different uses, Tim told us that he consulted with many people who had had similar experience and knowledge dealing with a project of this scope in order to come up with pricing that was fair for his client and himself. Check back in the coming weeks where we follow up on this important aspect of the project.

Samsonite Luggage at the  CIrcus Samsonite at the Circus Tim Hawley working with Cirque de Soleil for Samsonite Luggage

Yann Legendre for the Village Voice

Posted by Workbook on 06/30/2015 — Filed under:  FeaturesHeadlineIllustration
Yann Legendre illustrated this cover for last week's edition of the Village Voice magazine and it's headlining story, "Looking for Leatherman."

Leland Bobbe Captures the Ageless Heroes of Rock & Roll

Posted by Workbook on 06/29/2015 — Filed under:  FeaturesGalleriesHeadline
Photographer Leland Bobbe has just released a new series of black-and-white portraits that capture a variety of legendary musicians at their most personal. Here's Leland's take on the project: "As an ex-musician I have always had a strong connection to people who play music. I know how hard it is to have a career in music and have a lot of respect for those who keep at it. My intention with this group of portraits was simply to take real and honest portraits of musicians close to my age who still play music. I that find that older people's faces have much more character than younger people’s do. They have lived and it shows. I find this to be very compelling. This project has connected my past as a musician to my present as a photographer." Take a look at the images and a short profile of each subject. To read more about this series, check out articles at Huffington Post and Creative Boom.

Al Maddy
This portrait of guitarist Al Maddy was originally shot in color and then converted to B&W.

Annie Golden
Singer/actress Annie Golden currently appears on Orange is the New Black, and she just won a SAG award.

Binky Phillips
Binky Phillips is lead guitarist and songwriter from the legendary NYC band, The Planets.

Carmine Appice
Carmine Appice was the drummer in The Vanilla Fudge. He has been credited with influencing every hard rock drummer that came after him, including John Bonham from Led Zeppelin.
Cheetah Chrome
Cheetah Chrome is a guitar player and songwriter from The Dead Boys, one of the original punk bands.
Gene Cornish
Gene Cornish is the guitar player and singer from the Young Rascals/Rascals and is in the Rock and Roll Hall of Fame.
John Berenzy
John Berenzy is a singer, songwriter, poet, and guitar player who toured Europe with Willy Deville. He has recorded with Garth Hudson from The Band.
John Bruschini
John Bruschini is a jazz guitarist who had a long tenure with jazz giant Cecil Taylor.
Jojo Mayer
Jojo Mayer is a drummer extraordinaire who currently has a band called Nerve.
Kenny Aaronson
Bass player Kenny Aaronson has played with Bob Dylan, Billy Idol, Joan Jett, and many others.
Lenny Kaye
Lenny Kaye has been playing guitar with Patti Smith from day one.
Liberty Devitto
Liberty DeVitto was Billy Joel's drummer for 30 years.
Ricky Byrd
Guitarist Ricky Byrd is in the Rock and Roll Hall of Fame as a member of Joan Jett And The Blackhearts.
Rob Duncan
Rob Duncan is a keyboard player/songwriter/producer living and working in NYC.
Walter Lure
Walter Lure was a guitar player with The Heartbreakers. He now has a band called the Waldos.

Margaret King: Staunton Jams

Posted by Workbook on 06/29/2015 — Filed under:  FeaturesGalleries
A new hometown’s rich music vibe inspired Margaret King to create this new poster for use at one of the Shenandoah Valley’s many annual music festivals.
She loves experimenting widely with body language and often highly stylized anatomy, resulting in her being labeled a bit of a chameleon with drawing styles. Check out her work, or send an email request to also view her award-winning graphic design, photo-styling, and copywriting abilities.

Priscilla Gragg: Daily

Posted by Workbook on 06/26/2015 — Filed under:  FeaturesGalleriesHeadlinePhotography
"Daily" is a simple story line about the morning routine of a girl and her struggle with a morning accident.

Photo: Priscilla Gragg
Hair and Make Up and concept: Tricia Turner
Model: Emilie with Look Agency















The Q & A with Tom Cocotos

Posted by Workbook on 06/25/2015 — Filed under:  FeaturesHeadlineIllustrationInterviews


Collage artist Tom Cocotos recently got together with Peggy Roalf of Design Arts Daily to discuss his life in New York, unique style, impressive studio, and much more. Check out their interview and some examples of Tom's work.

Q: As you are originally from Leonia, New Jersey what are some of your favorite things about living and working in New York City?
A: The great city’s sensory overload is always exciting and energizing—it commands one to work hard. But the underrated or less-trademarked treasures with their quality unsurpassed are what sing our town: Dave’s Brisket House in Bed-Stuy, the New York Public Library’s picture collection, Pizza Supreme across from Penn Station, and the Writer’s Foundry MFA program at St. Joseph’s College. New York also houses an eclectic and frequently eccentric combination of humanity; I recently played a pickup volleyball game alongside a bird paleontologist, a musical director of the symphony, and a taxi driver—imagine those perspectives and teamwork all on a single court! Some of the things I still miss: the restaurant Florent, the unadorned, dilapidated, derelict High Line, Julian’s billiards on fourteenth, the St. Mark’s Cinema, and the Empire Roller Skating Center in Crown Heights.

Q: Do you keep a sketchbook? What is the balance between the art you create on paper versus on the computer?
A: I find a sketchbook is essential to keep the gears oiled. A pocket sketchbook makes it possible to vary scale, going from 4 x 6 inches, often drawn on the street or in transit and then translating that to ever larger scales, with some works in the studio reaching 12 x 8 feet. To work while traveling about in our mass transit is one of New York’s great luxuries; our amazing subway is among the best transit studios on earth. The system persuades an artist to always keep paper, pencil, glue stick, and magazine at the ready.
I keep many small sketchbooks, each devoted to a very specific subject: there are bee sketchbooks, books of portraits—for a while I was doing hundreds of studies of the wonderful NYC poet Marie Ponsot and Warhol Superstar Ultra Violet— and then a book full of machines focusing mainly on backhoes. Like many artists I’m probably obsessive, but steady practice requires some kind of excess. There are also larger books that house drawings, ideas, poems, and technical information about materials. My work nowadays involves many mediums, but somehow I can’t shake my affinity for the tactile quality of paper—its tear, scrape, and gouge.



Q: What do you like best about your workspace?
A: A set of moveable walls and of course, music—the great stimulator! In my workspace a pair of salvaged stereo speakers from a boombox hang and would be at the top of any workspace list. I bought the parts years ago for my first studio on West 12th Street, and their sound has followed me through to about twenty different locations. The system is combined with a tuner and woofer speaker, both found in the trash. It sounds great and will hook up to most any electronic device with a headphone jack.

Q: Do you think it needs improvement? If so, what would you change?
A: Many artists I have spoken to say their studios can use improvement, so that makes me think it is a perpetual quest and that the perfect workspace may be a fantasy. It seems to me that it’s important to try and get comfortable working wherever you are. But if pressed, because of the music, I’d opt for really good soundproofing!

Q: How do you organize an assignment before you start drawing? Do you make lists and thumbnails?
A: Different people classify fine art in different ways but for my practice the fine art develops its own rhythm and complexion over time and through repetition as a series. And while commissioned or illustrative work often depends on a series as well, it is essential for me to read over the material many times or study the ideas of others as soon as I get an assignment, so I have as much time as possible for that information to percolate in my head. Eventually when the time feels right I’ll start brainstorming through sketches.

Q: How do you know when the art is finished?
A: Whenever that which is now being added or changed begins to make the piece worse.

To read the rest of Peggy's interview with Tom Cocotos click HERE



“Spring Swing,” center and right:  “Dinosaur Gas” and “Salted Birds” both for National Geographic Children’s Books, art direction by Kathryn Robbins

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