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So, with Bendell's encouragement, I thought I'd take on more humorous talents, which I did, and was able to successfully turn buyers' minds in their direction when Bendell wasn't available. I was turning away more work than he could handle, as the major agency focus groups were overwhelmingly always selecting his particular style over every other humorous artist. In time, Bendell became so huge and coveted worldwide, we were billing over $200k many years in a row at his peak, approaching $400k one year. A couple years later, we were called up to meet Joe LaRosa, who awarded us nine ads for Perrier. It was a style somewhat along the lines of many of the New Yorker artists. His book was much lighter – my first indication I loved representing artists more than the other five. I started representing an art director at Bozell & Jacobs named Norm Bendell in 1983. He had about six different styles at the time and asked me to carry his work around with my photographers.

​ Does your group work a particular niche within the market and if so, how would you describe it? Do you think it's important to have a niche? ‍ ‍Over the decades, as I transitioned from representing photographers, to solely representing illustrators, the concept of repping niche talent was born very organically at first. I knew absolutely nothing, but I could sell and tell a decent joke. I was then in the garment district selling piece goods in NYC, and hating my boss, so I made a deal with Paul to give me a desk, a phone, x-amount a week advance draw, and to teach me what a photographer's rep does.

A dear friend who was the local "phenom" photographer at my high school, Paul Margolies, asked me if I would consider representing him.

​ ‍How long have you been an artist representative, and how did you get started in the business? ‍ ‍May 1st, 2017 is the start of my 38th year as a rep. After a few years touring the country (1974-1976), in a great cover band that included this then-unknown guitarist from Carle Place, Joe Satriani, I came off the road and had a series of very unfulfilling jobs beginning in January, 1977. Sharing David's 38 years worth of knowledge and experience. a must read for anyone in the business or thinking of a career in illustration. A great overview of where the business has been and where it's going.