Richard Borge Explores the Outer Realms of Art

©Andreas von Buddenbrock

©Andreas von Buddenbrock

  • by Andreas von Buddenbrock

Richard Borge has been working as a professional illustrator for over two decades, creating illustrations and videos with the help of drawings, handmade sculptures and found objects. He has a BA in Art & Communications from Concordia College in Minnesota, and an MFA in Visual Communications from University of Arizona in Tucson. In 1994, after having taught full-time at Western Carolina University for three years, Richard decided it was time to pack up his things and move to New York. His first 10 years in The Big Apple was spent living and working in Manhattan, primarily on editorial and corporate/advertising commissions, until it was once again time to move home and studio – this time to Williamsburg, Brooklyn. Here, Richard continues his illustration making, with the added use of live-action video and stop motion animations. Lately, he’s also been involved in making music videos; he’s currently working on a video for Honey Claws and their song “Digital Animal”.

I was fortunate enough one day to come over and visit Richard at his studio (and home) in Williamsburg, where I got to ask him about his interests, his career and his current projects – giving me an idea of what the world of a professional illustrator with years of experience is all about.

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Where were you born originally?

Madagascar. My father was a doctor over there for 10 years – 2 five-year stints – and I was born at the tail end of their second trip over there.

And then you moved to the US.

Yes, I was about a year old. I’m the youngest of six kids, so most of my siblings have memories of Madagascar.

You’ve said that you were drawing your whole childhood, and then at some point you realized that you could earn money from it?

Yeah. I was pre-med for a while, in college, because my father was a doctor. I didn’t really know what to do, but a couple of days before my junior year of undergrad, something snapped and I just switched all my classes from biology/chemistry/physics over to art, art history and such – I just switched it all. And one of my older brothers, John Borge, who is a photographer, was one of the people who really encouraged me, saying: “You can do this if you want”. I had never really considered doing art as a profession before.

©Richard Borge

©Richard Borge

You’re first assignment was to design a t-shirt for a football game. Could you tell us what that was about?

That was one of my first assignments. I was an undergraduate at Concordia College, in Moorhead Minnesota, and they needed some kind of design to be used on a t-shirt for a big football game. They needed to show how they were going to crush their rivals or something like that. I didn’t even know it was an illustration gig at the time…I was kind of just making a picture.


What was the motif?

I seem to remember something about football cleats coming down on their mascot, which I can’t really remember what it was. Maybe it was a dragon. I didn’t even remember it until you mentioned it. And then when I was in grad school in Arizona I did some illustrations for freelance work.

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As an artist with many years of experience, do you have any tips you would like to share for other aspiring illustrators, something that you wish you had heard when first starting out?

I would say that it’s important to follow your instincts, and to find out what it is that you really like to do – and then just do it. I think, for a lot of people, it’s not going to be illustration. Maybe it ends up being something else. But if you can find what it is that keeps you up all night – because you just want to stay up the whole night and just do that – then that’s GOLD. And then the key is just to find out how to make money doing it.

Promotion has changed so much from when I started, because back then there was no social media or anything like that, and so there were way fewer avenues and ways to promote yourself. You could send out postcards and buy ads in books like the Alternative Pick (it was a book before) and Workbook. But now, I guess my tip would be to embrace social media, and to do as much as you can with that.


Another tip, when you’re doing promotions, would be to try to think of it as a series, rather than as a single piece. Again, back to the older days of mailing postcards, a lot of times I would have students who were graduating that would do one kind of promo and send it out. Then nothing would happen and they would get discouraged and quit – that’s kind of a small tragedy. So I always say it would be better to do maybe three things, and send it out over a few months and kind of think of it more like a campaign, instead of that one thing that’s going to change the world.

It’s probably good for people to hear that everyone has to deal with rejection. A lot of people may think it’s just them.

It can be very discouraging when you send out promos and no one replies. It happens to me still; I email people and a lot of the times you don’t hear anything. However, sometimes you’ll hear from someone a year later and they’ll say: “We’ve had this promo sitting on our desk and we’ve been waiting for the right project.”   I remember someone back in school saying: “As an artist, you’re expected to be really sensitive, but you also have to have the skin of a rhinoceros.” You can’t get too hung up on rejections.

I would say: promote as much as you can. And always put out work that you really like, more so than things that you think is going to get you work. Put work out there that feels good and is true to your heart. My experience has been that when you put work out there that’s for you, the ones that you really like, a lot of the times those are the things that people would see and say, “We want something like that”. It wasn’t really for a client in the first place; you just made this weird thing for you.

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Is that how you got into your current style?

Well, when I was first promoting myself as an illustrator, I just made these really experimental 3D things and shot them with a 4 x 5. I also made a series of postcards with these totally self-generated pieces that were, for me, strange and kind of weird. That’s what I was putting out there, and that’s how I started to work.

So where do you find inspiration for these kind of “quirky” things that you do?

People always ask me this question, and I don’t really know. I find it from film, and somewhere deep in my mind. Sometimes from museums and galleries and whatnot. I think that if I see people’s work that I like, I find great inspiration in that.

What is usually your thought/working process from receiving an assignment to telling yourself “This piece is done!”

Well, when I first receive an assignment I like to hear from the person that is giving me it what his or her reason was for contacting me, because if we get that out-of-the-way I’ll know what direction to push it. For me, it’s always best if I’m given some kind of general art-direction, or if they say “We want to emphasize this aspect of the story”. That’s really helpful. What’s usually not as helpful is when they say: “We want you to do this and this and this, and then this” – that kind of takes the fun out of it. I get the assignment, I read the article, I highlight words and things that are visual to me in the article, and then I try to really understand what they’re saying and what it’s all about.

A lot of times I’ll have to take what is more of an abstract concept and turn it into a picture; this is especially common with the Wall Street Journal and a lot of other financial papers. And that can be with symbolism or by finding parallels between things. A lot of times when I read the article, I’m just completely stumped for a minute. I’m thinking “Oh no”. And then I start highlighting words and make these little drawings, where I’m trying to find relationships between the drawings and the words. An example I’ve given in the past is if you’re doing something about gambling and something about race cars (I don’t know why), immediately I would be thinking about the “circular wheel” and how you’ve got the roulette wheel, and maybe you start to find a connection between those things. So it’s not like I just sit down and close my eyes and hope that something will come to me. It’s more about doing these little doodles and drawings and then eventually something happens.


You’ve been working a lot on creating music videos lately; Are you self-taught when it comes to this, or did you learn it from somewhere?

I took an Aftereffects class at School of Visual Arts with Adam Meyers, and that was enough to get me up and running with animation. When I work on music videos in After Effects, (after listening to the song several times) I usually make a basic time line and print it out, which is the first step in making the song into something visual. I then make notes and drawings on the print, and try to figure out how to proceed. When I’m asked to write a pitch (treatment) for a full music video, I try to get a feel for what the song is about. Often times videos are more about the emotional sound of the song rather than a literal interpretation of the lyrics. Whenever possible it’s nice to talk to the band and get a feel from them as to what inspired the song. This treatment is then written out and accompanied by screen grabs of other pieces or a “mood board” of  images as to what I’m thinking it would feel like, then it’s sent off the band / label.


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Do you usually have the music in mind before creating the imagery?

Music is such an integral and important component of animation and film. A moving picture changes so much when music is added to it. When I’m making the 15 second Instagram videos, I usually make the animation first then find a portion of a track that I think works well with it. Instagram is limited to 15 seconds, so often times it is an intro to a song. When posting, I always credit and hashtag the musician and do an “@“ to them on Instagram. I do this mostly because I want to share it with them, but also because I want them to see that I’ve used it, as a sort of “full disclosure”. The Instagram videos are done in the spirit of a “fan video” and celebrating the music. I’m hoping no one asks me to take it down, although they have every right to and I would immediately comply if they did.

Maxwell Vann is a musician in LA who has been generous in letting me add some of his existing music to my animation. We are in discussion on more of a collaborative approach, perhaps where I make the visuals then send them to him for him to create the music for it, which would be a nice switch.

Meat Beat Manifesto is someone I’ve done tons of CD covers for and a couple music videos. I have a similar relationship with them with regards to allowing me to use their music for my animations.

#wip on @honeyclawz #honeyclaws #digitalanimal video. #type #typeanimation #music #rap

A video posted by Richard Borge (@richardborge) on

You’re currently working on a video for Honey Claws; can you tell us a little bit about how that started?

I was poking around with Aftereffects one night, making a stop-motion video of this little guy climbing out of a brain. We had just been to the beach earlier, listening to this Jesse Pinkman playlist (from the TV-show “Breaking Bad”) in the car, and there’s a part in Honey Claw’s song “Digital Animal” that goes “Di-di-di-di-di-digital animal”; when the guy was climbing it made me think of that song. So I just went ahead and dropped the track into place. Then, after I posted it, I found Honey Claws on Instagram, and I linked it back to him. He commented on the clip, saying: “Dayaam that’s ill!!  Wanna do a full video?”, and so we exchanged emails and took it from there. After that I kind of just got moving with making the music video. He’s been really open to it and I’m now tinkering with it whenever I have any kind of free time. It’s like a little side-project; when the jobs come in, I need to prioritize them, but a lot of the time I’m doing client work in the daytime and then I dive into that music video stuff later at night.

What’s your favorite music that you like to listen to?

I have to get back to you on that. I’m sort of all over the place. I like that Jesse Pinkman playlist because it’s got a huge variety of songs. I don’t listen to much hit-radio, but I always want to be inspired by new music, and I definitely fall into my old habits of listening to the same old stuff. Lately, I’ve really been into Knife Party; I follow them on Spotify, and I like their stuff quite a bit. And to me, when it comes to inspiration, that “Di-di-di-di-digital animal”-part, that inspires me. Or the song “Bonfire” by Knife Party, that one totally inspires me too. And it’s because it’s visual to me; they’re playing with time by kind of compressing it and slowing it down.

Lastly, do you have any “dream assignments” that you would like to be working on in the future?

I’d say things like titles and opening sequences for film, because you get to play with typography and things like that. Or possibly to be hired as the director on a big project and then work with a team of people who are manufacturing the whole thing, shooting it, etc. Like Patrick Claire who made the intro sequence to “True Detective” and “Daredevil” – though most likely he’s not doing as much hands-on on the latter; he’s probably just directing his vision. I also think it could be fun to tell a longer story while visually making it feel like an opening sequence with type and music. But I don’t know… It might be too much frosting on the cake.

After the interview, Richard gave me a tour around his studio, showing me samples of both former and current projects (some that for obvious reasons can’t be described in detail at this time). While displaying old sketches, green-screens and handmade sculptures that had been used for various illustrations and videos, he also emphasized how happy he was with his current working relationship to art director April Montgomery, who’s given him a lot of artistic freedom on his most recent project for Computer World. Richard feels fortunate to work with so many talented art directors, who he views more as collaborators.

I also got to meet Stela Woo, who used to be a student of Richard’s during his teaching at Parsons. Stela is currently interning at the studio, helping Richard out on projects by taking stills, shooting videos, etc.

To see more of Richard’s work and find updates on his current projects, be sure to check out the links for his official webpage, Vimeo page and Altpick profile.  Also, be sure to follow Richard on his Instagram-profile, which is constantly being updated with new and interesting images and videos.  There you can find his unique visual interpretations on songs by legendary artists such as:   Neil Young, Queens of the Stone Age, The Pixies, Knife Party, Butthole Surfers, Deer Hunter,Reverend Horton Heat, as well as the original Honey Claws animation.

Additional social media links:   Twitter, Facebook and Tumblr

Partial list of Richard’s clients: AVID, Sony Music, MTV, IFC, Novartis, Atlantic Records, ESPN, Fast Company, Time, Newsweek, Wall St Journal, NY Times, Washington Post, Forbes, Fortune, Bloomberg, Epson, AT&T, HP, Amex, Deutcshe Bank, Verizon, Reebok, IBM, Coca-Cola and Callaway Golf.

Interview By Andreas von Buddenbrock

andreasAndreas is currently working as an intern at, making interviews and writing articles. When he’s not working as an intern, he’s finishing up his Bachelor degree in illustration at the various campuses of Savannah College of Art and Design (Hong Kong, Savannah and Atlanta) while freelancing as an illustrator.

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George Kamper Goes “Into the Wild”


“I love shooting fashion, it’s fun, challenging and a great opportunity to explore another side of my creativity. It’s also of the moment, so I can experiment and allow things to develop more so than on a commercial shoot.”

These were only a few of the things that renowned photographer George Kamper learned about himself during his latest fashion editorial shoot for Venice Magazine. The editorial, which went under the title “Into The Wild”, was shot in Birch State Park, Florida, and ended up resulting in a beautiful series of black and white images.

While on set, Kamper would do everything to make sure that his crew and the model (New York-based Yara Khmidan) would have a smooth and enjoyable experience all throughout shooting. Thinking about things like how his models will get to and from set, making sure everyone stays hydrated in the summer heat and that they are all well fed are only some of the things that make Kamper easy to work with. As he himself puts it: “I guess if I’m involved, I have to bring it.”


Take a look at the end-result below, and be sure to click on the link to view the on-set video montage:

To see more of George Kamper’s work go to his website and Altpick page.

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Photographer Robert Wilson shoots an Olivier Award Special for The Times Magazine


©Robert Wilson

Robert Wilson photographs Mark Strong, winner of a 2015 Olivier Award for Best Actor in his incredible performance in A View From The Bridge. Amazing production and direction from Iva Van Hove reviving this Arthur Miller play.  More images of the British male acting talent from the shoot for The Times Magazine for the Olivier Awards Special:

To see more of Robert Wilson’s work go to his website and his Altpick page.

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Simply Beautiful :: The Audi R8 2015 :: Photographer Simon Puschmann



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Simon Puschmann‘s CGI production of this extraordinary car, the Audi R8 was photographed and created for Audi’s worldwide 2015 catalogue.  Cast and crew included:

Agency: Kolle Rebbe | Creative Director: Jörg Dittmann |Executive Producer: TimMichelProducer | Producer On Set: Will Taylor, USA. Priscila Heimer Braz, UAE. | Production Company: US: Ink & Orange UAE: Sonda | Photo Assistants: Pauly Abell, Alex Beran, Nikhil Monteiro, Leon Puschmann, Tom Puschmann | CGI Dolly: Move N Shoot and DIY. | Retoucher On Set: Christian Cordova Bueno | Post Production: Zerone Hamburg | Location: Los Angeles & Dubai | Year: 20

To see more of Simon Puschmann’s work go to his website and Altpick page.


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Zave Smith’s Documents the “Philip & Eleanor” Story

©Zave Smith

©Zave Smith

Produced and directed by Zave Smith, Philip & Eleanor tell their story of how a blind date becomes a marriage.  Episode 1 was recorded on July 1-5, 2014 in and around Detroit, Michigan.

A Very Personal Video Project by Zave Smith:

Last winter, I realized I had developed the skills to produce a documentary film about my parent’s lives. Philip & Eleanor Smith were just teenagers when they married in 1945. Seventy years later, they are still an active busy couple fully engaged in their own and their family’s lives.

Initially I dismissed this idea. It did not feel compelling. I mentioned it to my friend and photographer Steve Prezant. He said, “I can understand why you would not want to do this, but I can tell you that if you don’t, you will regret it one day”.

I began this project by developing a list of questions to ask my parents. I shared this list with family and friends who generously contributed additional lines of inquiry. I sent the questions to my parents prior to filming. I wanted to stimulate their memories and to give them time to think about their answers in order to make the filming more fluid.

I wanted the footage to not only tell an interesting story I also wanted it to look good and sound right. I realized that I could not be the Director of Photography, The Sound Person, The Lighting Grip and The Interviewer all at the same time. I needed help. So I reached out to Nic Justice who took over the cameras and allowed me to concentrate on prompting my parents and helping them tell their story.

My parents can kill you with love and attention. My mother at 87 is still a force of nature and my dad, at 88, is very sharp with a kindness that is very charming. Nic got the full Smith Family experience when we drove to Detroit to film the interviews over a Fourth of July weekend.

I first envisioned this as a 30-90 minute single narrative. But the minute I started to edit I soon realized that no one would watch something that long. I decided to break it into six short ten minute episodes that would cover distinct parts of their lives.

My goal was to have this first episode finished for our family’s annual Passover gathering. Watching the smile on my parent’s faces, and seeing how their grandchildren and great grandchildren enjoyed hearing their stories turned this personal project into a labor of love.

Watch film, run time 1o minutes, at:

Nic Justice Website:

To see more of Zave Smith’s work, please go to his Altpick page.








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Brian Cummings Makes it Anywhere with Adobe

©Brian Cummings

©Brian Cummings

by Brian Cummings

Like most creatives working commercially, I do not always have the opportunity to see final product of the projects I’ve worked on. With an ever evolving world of media platforms, it’s easy to miss the final campaign. Well, imagine my surprise when I launched Adobe’s CC14 programs (Illustrator & Indesign) to see the fruits of our labor staring back at me.

The fine folks at Adobe have been busy bridging the gaps between the physical and digital art world. With their new mobile apps, designers and artists are able to work from their smart phone or tablet and have it link directly to their digital library via Adobe Creative Cloud.

©Brian Cummings

©Brian Cummings

As part of their Make It campaign, Adobe has recruited some of the industry’s design and art elite to showcase how the mobile apps streamline their creative process. With each new app release, Adobe is releasing a tutorial video featuring designers/artists like Timothy Goodman, Nicole Jacek and Alejandro Chaveta demonstrating the key app functions. Each video shows the artists working from idea to final printed piece.

©Brian Cummings

©Brian Cummings

I joined the project in NYC (Timothy Goodman), LA (Nicole Jacek – and San Francisco (Alejandro Chaveta) working with Adobe’s video team. My assignment was to create a portrait campaign that complements the final videos.♦

©Brian Cummings

©Brian Cummings

Photographer: Brian Cummings                                                                                                    Client: Adobe                                                                                                                                    ECD : AJ Joseph                                                                                                                                    CD: Brian Yap

To see more of Brian Cummings’ work, please go to his website and Altpick page.

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Oliver Wetter’s New Client Guide To Illustration

©Leo Acadia

©Leo Acadia

by Oliver Wetter

Before billions of users occupied the Internet, illustration was a specific business. That term only rung a bell if you were an art director, editor or a publisher.

Today entrepreneurs and independent publishers can be anyone and this leads to certain problems.

If you need an artist to get something done, please read this post and pass it along.

Never Assume An Artist Reads A Book Before He Can Do A Cover Illustration

©Lorenzo Gritti

©Lorenzo Gritti

A myth in self-publishing circles:

Artists needs to read a book before they can make a cover illustration.

No, that is not necessary at all!  We never get paid to read a book.  This is a personal joy that can help, but, more than a blurb about the story is often not necessary.

A Word About Visual References

Archive Fantasio / Warren Louw / Lady Morgana

Most agencies and art directors know this and hence approach artists with references.  But yet, with the rise of self publishing, new problems have developed.  Many authors approach illustrators for book cover art, without providing the necessary visual references.

Artists are visual people and therefore need references to create images.

I for my part, am willing to go through written descriptions.  But I can not speak for all illustrators here.  Some prefer just stock photographs, others prefer a more strict guideline.

A helpful tool to gather reference images is Pinterest.  This site allows you to create visual pinboards.  It also has a great pool of visual imagery to describe your story.

No, We Are Not Able To Change The Artwork As You Change Your Mind (Without Cost)

"Crowd Funding" for CFO Magazine

©Ken Orvidas


Another common misconception seems to be changes in the artwork  while in process. I have especially experienced this with musicians. Best to communicate extra costs for changes beforehand.

There might be artists who are willing to work on major changes in the middle of a project,  but I feel a lot initial enthusiam towards a projects gets lost with too many changes. The best money can not buy intrinsic motivation.

Yes, We Need Guidelines And A Concrete Idea

Lara Odell - Writer (hand)

©Lara Odell

Sure there are artists who only do their thing. But even those are open to work with you if the budget is right. Especially from paying clients it is vital to have guidelines and concrete ideas.  Every artist likes to have a certain amount of artistic liberty.  You approach an artist mainly because of a certain type style.  That choice is part of the artistic liberty.

A concrete explanation of your idea is important for two reasons:

  • It reflects your credibility
  • It shows that you are not going to change your mind too soon.

It is helpful for both sides of the table to have this conversation upfront.

If You Don´t Know Exactly What You Want

Take the necessary time to think your goals through.

Mind mapping is helpful to get this in place.

Often it is possible to arrange a development phase for your project.  Regardless of the agency or freelancer, this can be an expensive adventure.

In most agencies or studios, the hourly rates for conception and development are high. Compared to the regular cost of an illustration, it can be twice as much.

Don´t Hold Back With Your Need For Regular Art Upfront

Speak with the artist.  It might be possible to get a discount on commissions when clients commit to creating a series.  Building a style in a series is easier when this point is clear upfront.

Convenient Communication

©Daniel Bejar

©Daniel Bejar


A convenient way to approach an artist is the way you would like to start a conversation.

I had people asking me connect through Whatsapp or a Skype chat.  To be honest, that is not the best way for me, however, it might be for you.  We are talking about personal style.  It definitely says something about the value the work has for the proposing client.

When it comes to communication, like it or not, there is no way around email.

Email is a to-do list.  It helps to reread an email conversation to recall the details.  Many things that can be overlooked in the sketch phase become important later on.

Skype or phone-calls fall short in that regard as well. It is nice for a personal chat,  get to know each other better.  The real important information gets lost between the lines, and sometimes hard to remember later on.  This can lead to unnecessary questions during the process.

Do We Need A Contract?

Yes we do.  At least a simple agreement. It is the only respectful way of saying that you have read and understood all of the above and agree with it. That is what an agreement does – nothing more and nothing less.  If you want to skip that important step, there is no reason for me to value your project.

No We Can Not Do A Sketch Or A Sample For Free

In a professional environment we would not need to talk about work for free.

Even professionals can be black sheep.  If they approach an artist asking for a sample – it is a generally scam.

The best intentions won’t help an artist to create a Facebook banner (for example) for free. The artist could certainly do that and many do, especially for friends. However, in the long run it does not help either party.   The vicious cycle of doing free sketches can end up disastrously. Not asking for payment on work may lead to the worst case scenario, not being able to make a living and  giving up on a possible fruitful career in the arts.

Contributing illustrators: Oliver Wetter, Leo Acadia, Lorenzo Gritti, Ken Orvidas, Lara Odell, and Daniel Bejar.

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Shooting Out West :: George Kamper’s Personal Project

©George Kamper

©George Kamper

by George Kamper

Growing up in Brooklyn, New York and working in the heart of New York City at the age of 14, left me with a comfort zone being around people, the streets of NY and the intense pace of life in the city. I began my career working for my Mom at Nathan’s Famous on 43rd and Broadway in New York City. Traveling into the city after school and on weekends by bus and subway and walking up and down 42nd street to get to the bus terminal (prior to 42nd St. being sanitized) was eye-opening for a 14-year-old.  I’ve always loved observing and there was no better place to watch and document the world go by than New York City. I remember “borrowing” with my Dad’s Argus camera and returning it to its place before he’d get home.

©George Kamper

©George Kamper

I’ve had a fascination with the West for years and have been seeking and creating opportunities to create personal work in that environment.

The West inspires me. I’ve lived in cities my entire life, so it’s a huge visual treat to be in such beautiful open territory. I suppose it’s a combination of the color palette, the light and the vast openness. I admire the life of cowboys and the connection they have with their horses. It’s kind of like the connection I have with my Harley on a road trip.

Shooting this type of personal project allows me to capture an inspired authenticity in the moment, I don’t project myself into the scene or direct. It’s inspiring to forget about everything else and become the lens for a few moments.

©George Kamper

©George Kamper

The Tanque Verde Ranch Personal Project came together when I found out  that EQ Magazine, where I am the photography director, had been invited to come out to Arizona to attend  a press junket for a  couple  of days along with several other editors. I reached out to our Editor and requested to go along for the ride and they accepted. I was fortunate to have most of my expenses covered by the gracious folks at Tanque Verde, and I picked up my incidental travel and meal expenses.

Since I now had a dual role of producing images for the magazine as well as for myself, I decided to shoot my personal work early in the mornings before the group gathered for their first scheduled event.

©George Kamper

©George Kamper

I approach my personal work and client work a little differently in that I take the “fly on the wall” approach to personal work and impose myself very little, versus directing and controlling my commercial work to guarantee the client comes away with what they need. Both approaches have treated me well, and I’m hoping more clients can appreciate the “Let’s get out there and see what transpires” approach.

©George Kamper

©George Kamper

I post most of personal projects on Facebook, Instagram, Behance, Workbook, Tumblr, etc..  Every once in a while I’ll post a commercial gig. I also submit my work to various blogs.  I’ve been fortunate that clients appreciate my personal work and refer to it when discussing an assignment.

The Tanque Verde shoot took on it’s own life at EQ, as the editor and publisher decided to run a featured multi page gallery of my personal images in the magazine and the EQ Website. They also had a separate story that included images I shot for the editorial.

Tanque Verde Gallery (Assignment Images)

©George Kamper

©George Kamper

See more of George Kamper’s work on his website and page.

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Photographer Zave Smith Has The Cure

©Zave Smith

©Zave Smith

by Zave Smith

I love making people smile.  My photographs have a strong element of energy and fun to them. This year, my New Year’s resolution was not to loose weight but to return to direct mail.  I remember walking into Art Producer’s offices and seeing postcards and posters plastering the walls and overflowing from the cabinets onto the floors.  Today, I see a lot of empty space on those walls. Why should I not help fill those walls with some fun and beauty?

©Zave Smith

©Zave Smith

I wanted to create a direct mail promotion that would enhance my photographic brand of images that are full of fun, energy and life.  I also wanted to create a mailer that would share my potential client’s office space for a while and maybe bring a smile into their busy days.

4-The Cure

©Zave Smith

“The Cure” is a beautiful  8oz blue glass bottle with a silver cap that contains miniature M&Ms. These bottles are wrapped in a silver label that reads, “The Cure: To cure creative block take two and call, Zave”.  This bottle sits on top of a tri-fold brochure of my images.  The bottle and brochure are then nested in white crinkle paper and packaged in an attractive box with “The Cure” stamped on it.

©Zave Smith

©Zave Smith

I also created a social media component by taking photographs of the “Cure” bottle in various environs like Joshua Tree National Park and in the casinos of Atlantic City. I then posted one of these photos each week during our mailing cycle on social media.  I mailed 40 boxes each week over five weeks. Each week’s recipients received an email stating that, “several lucky people will find “The Cure” in their mailbox this week.  Might one of them be you”?

©Zave Smith

©Zave Smith

It is hard to know the impact of a promotion this soon.  We have received many “Thank You” emails and suddenly people are answering the phone when we call.

©Zave Smith

©Zave Smith

We artists get hired for our vision.  Vision alone in today’s crowded market will not grow business if potential clients are not aware of one’s work or struggle to remember who created that wonderful photo they recently saw.  We hope that our “Cure” helps Art Producers remember our name and our images.  We hope our “Cure” will bring a smile to our brand.

©Zave Smith

©Zave Smith

To see more of Zave Smith’s work go to his website and page.

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Neale Osborne’s ‘The Castle of Desires’

©Neale Osborne

©Neale Osborne

In a storm-swept tavern in a village of yore, Cornelius, the secretive sorcerer’s apprentice, gives the unsuspecting Professor Gast a key – one with the power to unlock the doors of the magical Castle of Desires. Within its chambers are all that any man could wish for: wealth, leisure, servants, lovers – and, if he so desires, he may even summon up a military empire …

On the eve of Hallowe’en, 1937, Maximilian Richter arrives at the cartoon studios of Pineville, an isolated gated community in the sun-kissed Californian hills. As a bit-part actor in early talkies – as gangster, tough guy, hired muscle, hoodlum – every scene Max had been in had simmered with sin. And now, within the walls of Pineville, Max is free to cheat and sweet-talk his way into the affections of the unsuspecting community, stirring up a secret storm of seduction, vice and violence.

©Neale Osborne

©Neale Osborne

Neale Osborne’s allegorical novel, a story-mirrored-within-a story, is a unique period piece set on the edge of historical Hollywood … and deep in the chambers of a mythical fortress.
The tale can also be seen as a homage to the pioneering greats of film animation: Georges Méliès, Willis O’Brien, Ray Harryhausen & Ladislav Starewicz…and even features a recreation of the Carthay Circle Theatre premiere of Disney’s ‘Snow White and the Seven Dwarfs’

‘The Castle of Desires’ is out now in paperback, with four signed copies available in a Goodreads giveaway (for readers in the USA, Canada, and UK, until the 5th of April.)

To see more of Neale’s illustration work go to his website and page.


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