Artist Profile: James Fiorentino, highly accomplished at a young age

As the youngest artist inducted into the prestigious New York Society of Illustrators in 1998, James Fiorentino continues to prove his achievements as a highly regarded illustrator and painter. He is an incredibly prolific young artist with an amazing sports portfolio that eclipses many senior pros by a mile.

Many of James' lithographs are part of the permanent collection in the United States Sports Academy Museum (Daphne, Alabama). James also has his work displayed at the National Basketball Hall of Fame, The National Museum of Art & Sport (NAMOS) (Indiana), Cycling Hall of Fame (New Jersey), Roberto Clemente Museum (Puerto Rico), and The Yogi Berra Museum and Learning Center (New Jersey), just to name a few. In 1994 he became the youngest artist to win Beckett Magazine’s annual sports art competition for the likeness of Hall Of Fame pitcher Steve Carlton.

Fiorentino has been featured on national and regional television, magazines, and newspapers including ABC World News Tonight with Dick Shaap, CBS This Morning, ESPN's Baseball Magazine, ESPN Magazine, The New York Times, Fox After Breakfast, NBC Good Day New York, MSG's New York Yankee Pre-game Show, and the New York Mets television broadcast just to name a few. He has been interviewed by ABC, NBC, FOX, CBS, and UPN affiliates throughout the country.

The Sports Artwork Forum is excited to now share its exclusive interview with this talented young artist:

SAF - How did you get started in art and when did you know you wanted to pursue it at a professional level?
JF - I got started in art at a very early age , drawing and painting ever since I could remember and taking private lessons at age eight. I painted things I liked which included sports and around 14 years of age the portraits really clicked for me. At age 15 I had a painting displayed in the National Baseball Hall of Fame making me the youngest artist to have work displayed and I would say I became a professional artist a year or two later when I created work for Ted Williams and Cal Ripken Jr.

SAF - Who are your main artistic influences and which artists work do you most admire (classic or contemporary)?
JF - I really admire all art and artists from modern painters like Francesco Clemente and Picasso to comic artists like Joe Sinnott and illustrators like Rockwell and Wyeth and sports artists like Bart Forbes and Dick Perez. I also think Gerry Dvorak was a influence on me growing up as well. (Editor's note: Dick Perez was recently featured on the Sports Artwork Forum).

SAF - One of the difficulties for most sports artists now days is navigating the current intellectual property rights of individual players and teams - your portfolio displays a wide range of sports personalities - has it been difficult to negotiate the right to paint and sell reproductions of all of these different athletes and what are some of the challenges you have had to overcome in doing so?
JF - As far as rights, it has always been a gray area and I always work with the players, teams, events, trading card companies, charities, etc. in order to reproduce any of my work and have the okay to do so. This is why you don't see a lot of my work reproduced as a majority are original paintings commissioned by private clients.

SAF - What is your preferred medium to work in and why?
JF - All of my sports art is painted in watercolor which is probably the hardest medium to use because it dries very quickly and you cant go over it if you messed up with more paint usually. I really fell in love with the medium and paint in watercolor like someone would paint in oils or acrylic. My work is very tight and photo- realistic which is unusual for watercolor. I think this happened by accident by practicing so it is really a self taught method. I enjoy all the detail you can get from it.

SAF - Your "Fiorentino Collection" Upper Deck trading card work is quite impressive - can you share with us how your work was chosen to be featured in its own set of trading cards used by the Upper Deck company?
JF - Upper Deck saw the first set of cards I painted for Topps in 1999 modeled after the 1953 Topps cards which became one of the most popular sets that year. A few years later Upper Deck asked me to create cards of all four major sports and the first golf cards ever by Upper Deck called the "Fiorentino Collection" which was a very cool to have my name on the cards which I did not know until I received the first mock up design. Upper Deck provided me with the photos to work from and wanted them all in black-white which is one of my favorite ways to paint in watercolor. I would end up painitng for them again a few years later.

SAF - Without revealing any trade secrets, what is your process for creating a new piece - ie: do you work from sight, photos; do you do multiple thumbnails and studies - how long does it take you to complete a piece?
JF - All of work is drawn out in pencil first on heavy duty watercolor paper and than painted in watercolor. I work off of photos as references and it can take me a few days to a week to complete one single action or portrait shot depending on the size and detail. Some collages have taken weeks to complete.

SAF - How do you feel about technology as it relates to art - has technology given you more opportunities as an artist or made it more difficult for you?
JF - As far as technology I am very bad with computers and basically just know how to use email. I like to consider myself an old school artist as all of work is drawn and painted by hand.

As far as technology in helping me with my business it has been great because having a website is the best way for people all over to see your work. I have received many jobs from people looking at my site www.jamesfiorentino.com which is key. Finding photos and supplies is huge with the internet. There are so many more ways now to find access to images which is key when illustrating people.

SAF - What one bit of advice would you give to artists who aspire to achieve success in the sports artwork industry?
JF - I get so many aspiring sports artist young and old emailing me about thow to get in the business. I simply tell them get their work out there and send it to everyone. Starting a website and portfolio and setting up at sports events or shows always helps. Getting your work in front of athletes and trying to have gallery shows. If you keep getting your work out there and getting better at your work something will pop up for you. Sports art is very popular now and much more competitive so there is a lot to paint out there.

SAF - What new or interesting projects do you have coming up that you would like to share?
JF - I am always working on private client commissions and just finished a new piece on Don Mattingly called "The Hit Man" for an event this December. A limited edition of giclees are being made signed by Mattingly. I also just completed a project with Mario Lemieux titled "The Comeback" which illustrates Mario's comeback in 2000. Limited edition giclees were made signed by Mario and sold on his website www.mariolemieux.org. In 2009 I plan on having another show of some of my new work and some new projects with athletes.

SAF - What are the negative aspects to pursuing a career in sports art? AKA - what things in your profession do you find to be stressful or irritating?
JF - I really love my job and feel I am so lucky to do what I love for a living. I think owning your own business always has positive and negative things to it but always trying to get more work is what you have to keep up on.
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Sports Art History: Cycle Michael by Henri de Toulouse-Lautrec

Henri de Toulouse-Lautrec (1864-1901) was a French Post-Impressionist painter, printmaker and illustrator known for his renderings of decadent French theatrical life. His most recongnizeable work is arguably "At the Moulin Rouge".

Lautrec was certainly not known as a "sports artist" but he did create this illustration of a cyclist at some point in his career.

The cyclist is young English champion, Michael, with his trademark toothpick in his mouth. The figure on the left, bending forward is Michael's manager and coach Choppy Warburton. Sporting correspondent Frantz Reichel is represented on the right, holding a stopwatch. The track on which the scene takes place is the old Buffalo cycle track in Neuilly. This image was intended to be a poster to advertise Simpson’s new bicycle chains however this design was rejected by the company because the pedals were not drawn accurately.
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Artist Profile: George Vlosich, wizard of Etch

I came across George Vlosich while doing some web searches on various sports artists. If you have not heard of George or seen his work by now, it would probably only be a matter of time until you did.

George is without doubt a talented artist. What sets him apart from the field however, is the unique style and medium he has chosen to create his work with. George creates his original artwork using the popular Etch A Sketch drawing device!

He began using the device at the age of 10, winning many of the company's annual art competitions and continued using it as a medium to work on professionally. His unique pieces have enabled him to build a great niche business (www.gvetchedintime.com) and a loyal following of enthusiasts.

The Sports Artwork Forum is excited to present its featured profile on this unique artist and his technique:

SAF - How did you get started in sports art and when did you know you could make a living at it?
GV - Art has always been a God-gvien talent. I started drawing and coloring when I was two. My dad who also is artistic and in advertising, always encouraged and nurtured my talents. If it wasn’t for him I would never have continued with the Etch A Sketch.

I always new I wanted to do something in art. I love to create, whether it be drawing, painting, designing on the computer or making art on the Etch A Sketch.

SAF - Who are your main artistic influences and which artists work do you most admire (classic or contemporary)?
GV - I love and appreciate all art. I had an amazing teacher (Jose Cintron) in art school who my dad actually had as a teacher also. He was a portrait painter - as close to an old master as I’ll ever get. He really inspired me, and motivated me. He always told me anyone can create a likeness, but few could capture their spirit and evoke a feeling. That being said, I love the masters, but recently I’m influenced more now by street and graffiti art. (for example) FAILE and Shepard Fairey. I guess it’s the way they approach their art and how they design it.

SAF - Your Etch A Sketch sports art is mind blowing. How did you start doing such amazing work on what is essentially a toy?
GV - When I was ten I was in the back seat of the car on vacation and picked up my mom’s old Etch A Sketch from when she was a girl to pass time by. I did the U.S. Capitol building and my parents couldn’t believe it. From that point on it was a new way for me to express my artistic abilities. It was a challenge. I started trying to capture people’s likenesses. I won’t even show people my early work any more. But like anything, the more you practice the better you get. The better I got at drawing the better I got at the Etch and vice-versa.

SAF - What is your preferred medium to work in and why?
GV - I love working on the Etch. It’s a challenge and not many others can do it. It’s unique and one-of-a-kind. But I do love color pencil. There are so many things I want to try through painting but there’s just not enough time in the day. I think in some ways that’s always been a weakness for me. I don’t really focus on one thing.

SAF - Since you have been a professional sports artist, what accomplishment are you most proud of?
GV - It’s always fun meeting the people and seeing their reaction. When I was in high school I had my work (shown) in a gallery in Cooperstown N.Y. for induction weekend and a lot of the artists that were in the show loved my work, and taking pictures with me - so it was neat for a young kid to be admired by other professional artists whose work was amazing.

I also have a 6 foot by 4 foot etch in ESPN Zone in Baltimore that they commissioned me to do when the restaurant first opened. They reproduced my original into a giant three dimensional etch a sketch

SAF - What is the process for creating an Etch-A-Sketch piece? Does Etch-A-Sketch sponsor you or provide you with your palettes?
GV - When I first started doing images on the Etch, they didn't take very long to complete. Over the course of the last twenty years, I've invested literally thousands of hours on the Etch A Sketch. Now an average piece takes between 70 to 80 hours. People look at the end result now, and don’t really realize the time it took to get to the point I’m at now.

Etch A Sketch does send me Etches but that’s the extent of our relationship. They don’t support any one artist.

SAF - Is the Etch-A-Sketch that you use the same as we would by in a toy store, or are yours modified in some way?
GV - Same exact Etch A Sketch. The image is one continuous line, no secrets. If I make a mistake I'm forced to start over just like everyone else. And I do start over, sometimes two or three times!

SAF - How do you feel about technology as it relates to art - has technology given you more opportunities as an artist or made it more difficult for you? What technical resources have you found critical to your art business (web sites, software, tools etc.)?
GV - I think technology for the most part is great. I majored in graphic design and work in advertising, so a lot of the other work I do is on the computer. It sometimes makes it difficult when developing ideas for clients because they look at the rough (artwork) and even though it is (just a) rough, it looks finished. They get hung up on the little things rather than looking at the big picture, idea and concept behind it. I think people rely on the computer too much sometimes, to the point that there is less thinking involved.

SAF - What advice would you give to other artists who are trying to make a career in the sports artwork industry?
GV - I combined my two passions sports and art. It’s not easy, I’m still trying to figure it out.
But it’s never easy. If it were easy everyone would be doing it. There’s been a lot of people through the years who look down on sports art, they’ll tell you it’s not real art. But if it’s something you enjoy, do it and do it to the best of your ability.

SAF - What new or interesting projects do you have coming up that you would like to share?
GV - I just launched my new website gvartwork.com. I’m teaming up with my brother Greg and Dad to offer a wide range of creative solutions. I just launched my 3rd video on YouTube. It shows me creating an Etch of the Chicago Cubs, which I think is my best piece to date.
My work is on display right now in the National Art Museum of Sport in Indianapolis

SAF - What are the negative aspects to pursuing work in sports art? AKA - what things in your profession do you find to be stressful or irritating?
GV - Not enough time in the day to do as much as I would like to with the etch, painting, and drawing. I have been blessed with a tremendous amount of artistic talent – but sometimes creative people have a harder time with the business side, so that’s a challenge that I am always up against. The average person doesn't have thousands of dollars to spend on an original, so you have to try to offer other things that don't take away from the value of your artwork but that is affordable for everyone.
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Sports Art History: Sonny Liston by Frank Mullins

Frank Mullins (1924-1978) was a regular contributing artist to Sports Illustrated in the mid to late 1960's and his unique style helped to define the look and energy of the magazine during this time period. His painting of fighter, Sonny Liston for one of the covers, showcases his great talent and style.

With a minimalist feel, lots of white space and perfectly placed brush strokes, Mullins conveys Liston's power and aggressive energy during a practice sparring session. Amazingly, with very little body detail other than the fighter's arms and neck, Mullin's masterfully conveys Liston's powerful stance and intensity. The facial features, flanked by protective headgear give the feel of a Samurai warrior, ready for battle.

Mullins work is a true part of sports artwork history and his style and renderings helped to define the energy and competition of sports in the 1960's.
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Artist Profile: Alvin Fall - Undiscovered talent battling in the trenches

Since the Sports Artwork Forum began this past summer, we have featured a number of highly successful sports artists. Folks who have reached the pinnacle of the industry, selling their work in various professional outlets across the country and making comfortable livings doing work they are passionate about. But for every successful sports artist, there are hundreds (including yours truly) who struggle to find their small place in the sun. The talent is there, but the opportunities, timing and luck just may not be. Such is the life of any artist, not just sports artists.

Alvin Fall is one such example. A trained and talented artist from Florida, Fall earned a degree in graphic art from Missouri Southern State University. He is the only student from MSSU to ever win the American Scholastic Press Association's Outstanding Artist award. Working primarily in watercolor and colored pencil Fall, designates his style as "watercolor illustration," bringing sports celebrities to an iconic presence on the canvas.

Alvin has made some impressive marks while forging his way in the industry, including the recent creation of a piece featuring Tampa Bay Rays player, Carl Crawford which was raffled off to 2008 season ticket holders. Despite these successes, Fall still struggles to reach the promised land of dedicating himself full-time to his artwork and like many artists, works a full-time job to support his passion.

Please read more about this talented and dedicated artist in this Sports Artwork Forum interview with artist, Alvin Fall.

SAF - How did you get started in art and what level have you taken your artwork to?
AF - I started in art at a young age. My mother is an amateur watercolorist and encouraged me to draw and paint early in life. When I was about 13 I did my first sports illustration. It was of Terry Bradshaw. I took great pleasure in creating it, and have been hooked ever since.

I believe I have taken my talent to the professional level. The quality of my work is comparable to any sports artwork out there.

SAF - Who are your main artistic influences and which artists work do you most admire (classic or contemporary)?
AF - At a young age I was influenced by Daniel Smith. He did a lot of sports artwork that was published on the Beckett magazine covers. I used to see his work and want to be like him when I got older. He has a very realistic style using airbrush. As I developed as an artist, I found I wanted to put a more stylized touch on my own artwork.

I also have a lot of admiration for Salvador Dali. I live near his museum in St. Petersburg, Florida. He had an amazing combination of technical skill and imagination.

SAF - Do you presently work full-time as a professional sports artist and if so, who is your primary clientele?
AF - Unfortunately, I am not at the full-time level yet. I do have some contracts with companies that sell prints of my work. I recently did a piece for the Tampa Bay Rays, and will be doing a piece for the USF Bulls. So, I am getting there, it is just a long, hard road. I feel I am as talented as any of the sports artists out there; I just haven’t made my break yet.

SAF - What is your preferred medium to work in and why?
AF - Originally, I worked in pencil, because it came so naturally to me. Then I upgraded to colored pencil to add color to my work. In college I began to use more watercolor.

Today, I typically use a mixed media of watercolor, colored pencil, and acrylic. I use watercolor to paint in large areas of color, then I will go over top of it with colored pencil to bring out detail. Lately I have been adding acrylic paint to the background. It is a system that works well for me and achieves the professional quality I desire.

SAF - Since you have been a sports artist, what accomplishment are you most proud of?
AF - When I was in college, I won the American Scholastic Press Associations “Outstanding Artist” award. The competition was among 2,000 colleges nationwide. I am the only student to ever win the award for Missouri Southern State University (my alma mater).

I am also very proud of meeting Carl Crawford and having my picture taken with him signing my artwork. That was my first “major league” deal.

I was also invited by the American Sports Art Museum and Archives to participate in the 2008 Olympic Sports Art Competition. That was an honor for me. It is nice to start to be recognized by some of the sports art organizations of the world.

SAF - What is your process for creating a piece – i.e. do you work from sight, photos; do you do multiple thumbnails and studies - how long does it take you to complete a piece?
AF - I typically work from photographs when it comes to sports artwork. I like my illustrations to have a very realistic quality. In my experience I am more likely to achieve the quality I am looking for if I am able to reference a photograph. I like to put in all the details, like grass stains, and wrist bands, tape, stuff you might not catch if you are working from sketches.

SAF - How do you feel about technology as it relates to art - has technology given you more opportunities as an artist or made it more difficult for you? What technical resources have you found critical to your art business (web sites, software, tools etc.)?
AF - I used to be a bit opposed to the use of computers in art. Then I realized that it is just another tool. I was a bit afraid of computers taking over and not being able to market my work. Then I realized that computers have made my hand painted work more valuable, because fewer people practice this type of illustration.

I use Photoshop almost every day. I use it to lay out compositions of my paintings before I start to illustrate them. I use it to color manage pictures of my artwork and resize them for viewing on my website. I use it to build buttons and logos for my site.

The computer is a tool, like a compass or a ruler, only much more advanced. I am sure that when the compass was invented, somebody said, “That’s cheating! I draw all of my circles by hand!” Is it cheating, or is it cutting down on your layout time?

Creating my own website was one of the most valuable steps in promoting my art career. It gives me such a broader audience for sharing my work, and allows me to market myself more ably. I have made contact with several companies and individuals from abroad that are interested in my work; people I might not have been able to interact with without the web.

SAF - What advice would you give to other artists who are trying to achieve some success in the sports artwork industry?
AF - I would tell them that if they are not 110% sure that this is what they want to do, they should re-consider. It takes a lot more than talent to make it in this field. There are more and more sports artists out there every year. You have to be persistent and outgoing. Even then, you will have a hard time getting jobs. I would say that it’s only really worth it if it is your sincere goal.

SAF - What new or interesting projects do you have coming up that you would like to share?
AF - The USF Bulls have expressed that they would like me to do an illustration for them. That is exciting for me! The more contacts and references I can make the better. It’s a great feeling to be wanted by an organization that I am such a fan of.

This fall, I am participating in a juried competition put on by The Artist’s Magazine.

In addition, I have teamed up with Matt Allinson of Access Athletes. We are putting together a game plan to showcase my talents.

SAF - What are the negative aspects to pursuing work in sports art? What things in your profession do you find to be stressful or irritating?
AF - I would say the most frustrating thing for me is being a “starving artist”. It was o.k. when I was in my 20’s but now I am feeling pressure to start making money. Several times I have thought seriously about throwing in the towel. I work 40 hrs a week to pay the bills and then I work about 25 hrs a week or more on my sports art. I feel that my Sports Art career is really what I want to do with my life, it is just very difficult to make it work.

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On Exhibit: The U.S. Sports Film Festival

Comcast Sportsnet presents the first annual U.S. Sports Film Festival (USSFF) in Philadelphia, October 23-28, 2008. From the USSFF web site:

"The U.S. Sports Film Festival (“USSFF” or the “Festival”) seeks to satisfy the insatiable consumer demand for both cutting edge and nostalgic sporting experiences, and simultaneously addresses the critical sports film industry need for a signature, marquis event. At the point where sports and entertainment intersect, there is an opportunity for a unique event that will appeal to both sports fans and traditional film festival attendees alike – an interactive film festival focused exclusively on sports at a destination location.

At its core, the USSFF features all the traditional high-end film festival features, showcasing a combination of new and classic sports films, supplemented by panel discussions, memorabilia, VIP parties, and award ceremonies. However, the signature distinguishing USSFF characteristic is the interactive participation of attendees in Festival events, often with the Festival’s films’ actors and athletes.

For more information and a screening schedule, visit the USSFF web site.

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Biz Talk: A conversation with football expert, Ray Didinger

Ray Didinger is one of the true sports treasures to emerge from the city of Philadelphia. An undisputed authority on the Philadelphia Eagles and the NFL, Ray began his professional journalism career in 1968 writing for the Delaware County Times and then moving on to the Philadelphia Bulletin in 1969 and the Daily News in 1980. In 1996 he joined NFL Films where he is currently a senior producer.

He has written and edited several books about football including: The Eagles Encyclopedia, and One Last Read: The Collected Works of the World's Slowest Sportswriter.

Ray co-hosts an excellent Saturday morning sports radio talk-show on Philadelphia's 610 WIP alongside Glen Macnow and is a recognized football expert in the local (and national) sports media. He has been recognized by the National Football Hall of Fame, the Philadelphia Sports Hall of Fame and has received countless awards for excellence in sports journalism including an Emmy Award.

I had the pleasure of meeting Ray (and drawing his portraiture) when he was inducted into the Philadelphia Sports Hall of Fame in 2006. He is a true gentlemen in every sense of the word and very willing to talk to fans at length about various aspects of the game. Ray graciously gave up some of his time (during his busiest part of the year no less) to give his perspective on pro football, the media and sports artwork.

SAF - Looking at your amazing career and all the time you have spent covering and analyzing the greatest moments in the NFL, is it even possible for you to pick one visual image from your mind’s eye that quintessentially defines the essence of pro football to you? If so, what is this image and why does it define the game for you?

RD - There is a great black and white photo of Colts quarterback Johnny Unitas standing in the pocket, cocking his arm to pass in the 1958 NFL championship game. The New York Giants defense is swarming all around him, his offensive linemen are trying to fight them off and Unitas is completely calm standing in the eye of the storm. It is a photo that captures both the essence of Unitas (cool under pressure) and the intensity of the game.

SAF - As a youngster, were you more intrigued by playing the game of football or by the other elements of the game like, strategy, coaching, statistics etc? Did you always aspire to be in the sports media covering the game as a writer, or was there a period when you actually desired to play the game at a higher level?

RD - I knew that I wanted to be a sports writer from the time I was in seventh or eighth grade. Specifically, I wanted to write about pro football. I started going to Eagles games with my family when I was nine years old. I grew up with it. I thought pro football was the most exciting sport in the world and the strategy really fascinated me.

SAF - Visually speaking, pro football is an amazing display of color, motion and energy each Sunday. Is there an aspect of the game (visually speaking) that remains unchanged with you through all these years? That is, what aspect of watching the game still excites you each week?

RD - Visually, I think the game has lost something. It was better, in my opinion, years ago when all the games were played at 1 o'clock on Sunday afternoon. It was bright daylight, the grass field seemed to sparkle, the sun reflected off the helmets. Now there are so many 4 o'clock starts and night games -- and worst of all, domes -- that it's not the same. Plus, the stadium backgrounds are all pretty much the same. I preferred the '70s when you had the ivy walls at Wrigley Field, the brick administration building at Franklin Field, the rowhouses beyond the end zone in Baltimore, etc. The stadiums weren't as plush, but they had more character.

SAF - Working in different sports media outlets (Radio, TV, Print) you have undoubtedly crossed paths with many creative folks. Is there any one individual (whether it be an artist, photographer, film maker or writer) who stands out in capturing the game in a creative sense? If so, who?

RD - Michael Zagaris, the photographer for the San Francisco 49ers. He has a wonderful eye and he has been with the team for so long, he has total access. He gets to shoot very intense pre-game and halftime locker room stuff in addition to his great action photography. He is a true artist.

SAF - Strictly speaking from a sports artwork perspective – is there any piece of formal sports artwork (drawing, painting) that ever left a strong impression with you? Is there any particular artist whose work has appealed to you for their ability to consistently capture the game of Pro Football?

RD - Ernie Barnes, a former player, has done some powerful paintings on pro football. It is interesting, if you look at Ernie's early work which was done shortly after his football career ended, the paintings are almost horrific with ghoulish figures and macabre scenes. Over time, as he put more distance between himself and his playing career, his work has softened as I suspect his feelings for the game have softened. It is all quite good, but his early stuff is really chilling.

SAF - What is your feeling on the sports memorabilia and collectible industry – do you feel this is harmful to sports or just comes with the territory? Do you personally have any favorite collectible items accumulated during your career and if so can you share what they are?

RD - I'm not a collector at all. I don't care for the industry as a whole. It has made people, athletes in particular, cynical. Now many athletes won't sign an autograph for a kid because they assume the kid is working for some guy behind the scenes who will take the autograph and immediately put it on E-bay. It has ruined that personal connection forever.

SAF - You currently work for NFL Films as a Senior Producer. NFL Films produces some of the most amazing documentary footage in professional sports today. Can you take us through the process of how the action on the field is collected and then eventually used in these amazing highlight reels? Creatively speaking, what determines whether footage is worthy of being used or ends up on the cutting room floor? How many man hours go into collecting footage from just one game?

RD - Our crews shoot the games and the film is shipped back to our headquarters in Mt. Laurel, N.J., for processing. Once it is developed and dignitized into our computer system, a team of producers go through every frame of every game and create what are known as "special rolls" which means all the best stuff which is then logged by time code and shot description. Those special rolls are then made available for editing the shows for that week and beyond. With all the shows that we do, a typical day will last 10 to 14 hours or longer during the season.

SAF - You recently authored an amazing book called the The Eagles Encyclopedia which exhaustively documents the history of the team. How long did it take for this book to go from concept to print? Creatively speaking, what is involved in assembling all the various forms of historical information in the book (photos, lyrics to cheers and fight songs, rosters, stadium information etc.)?

RD - The Eagles Encyclopedia took about 18 months from the time we signed the contract until we completed the manuscript. We used every available means of research including the Eagles archives, the Inquirer and Daily News libraries and the Bulletin archives which are now at Temple University. We also used the resources of the Pro Football Hall of Fame in Canton, Ohio. It was a massive research job, but the writing was actually a lot of fun.

SAF - What is your opinion on how technology and marketing is re-shaping the way professional sports is delivered as an entertainment product today? For example, if one attends a pro sports game today, it is easy to be overwhelmed by all the various high-tech, multimedia sights and sounds in the stadium (huge scoreboards with replays and music videos, blaring music, scrolling news feeds, advertisements, fireworks, choreographed cheerleaders, food courts, etc) to the point where the action on the field almost becomes incidental. Do you like how sports is delivered today, or do you feel it was a better experience for the fan, say in the 60s or 70s?

RD - As you can tell, I'm an old-school kind of guy so I preferred the game as it used to be. I liked the older stadiums, I liked the 1 o'clock starts, I liked just watching The Game. I don't need the cheerleaders, the blaring rock music, the fireworks and especially the advertisements. I'm not there for that. I'm there to see The Game. The rest of it seems like a distraction. But I know that younger people like all the bells and whistles. If they went to a game and it didn't have those things, they'd feel cheated. I don't need the luxury boxes or the food courts, either. I was happy standing in line for a cold hot dog at halftime. But as I said, I'm an old school guy.

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Artist Profile: Dick Perez; simply one of the very best.

As a youngster growing up near Philadelphia during the 1970's, one of my earliest art memories is being given a Philadelphia Phillies yearbook that featured an amazing group of pen and ink sketches. I remember trying (with great frustration) to re-create those drawings - even tracing them over and over. As simple as they looked, they were amazingly complex in their line technique and even my exact tracings could not capture the personality of the players the way the real drawings did. The artist's name always stuck with - Dick Perez.

As I went down my path of life, leaving my own artwork on the back burner for school and career, I never forgot how those drawings inspired me as a kid. And when I re-discovered an interest in drawing again in 2005 as an adult, it was with great excitement that I realized that Mr. Perez had gone on to become one of the most important sports artists in the industry today and perhaps in the entire history of professional baseball.

The work of Dick Perez is simply incredible. If you are a Phillies fan (or a baseball fan for that matter) it is impossible for you not to have seen his work at some point. Whether it be strolling by his paintings on display at Citizen's Bank Park (home of the Phillies), seeing his brushwork printed on a collectible Donruss trading card or reproduced in a game program or collectible lithograph, Dick's work is a huge part of professional baseball today and hangs in the homes of countless baseball fans across the country.

Dick is the official artist of the Baseball Hall of Fame and has won more awards and accolades than could possibly be listed here. He has painted and exhibited every Hall of Fame member at the Hall of Fame museum. His paintings of yearly inductees are the official color portraits that go on display in the museum beginning with induction weekend and remaining on display the entire year. His art has graced the covers of various Hall of Fame publications, limited edition prints and he has provided his artistic skills to many special Hall of Fame projects over the years. The art gallery room of the museum bears his name.

It is with an incredible amount of pride and excitement that the Sports Artwork Forum shares with you its exclusive interview with the great Dick Perez.

SAF - How did you get started in sports art and when did you know you could pursue it at a professional level?

DP - My involvement in sports art was evolutionary with no definitive starting point. It was a gradual development from graphic designer/art director to sports illustration. Part of my role as a graphic designer involved designing publications for colleges and universities, including their sports departments. I dealt with the Sports Information Director at Villanova University, who later became the General Manager of the Philadelphia Eagles. I designed the team’s yearbooks, collateral material, media guides, etc., and began to incorporate my own illustrations into the work. That led to doing some illustration work for the NFL. The Philadelphia Phillies took notice of my work and invited me to do work for them. It was during this period that I met collector and entrepreneur Frank Steele. We formed an enterprise hoping to bring art back to baseball cards. He was friendly with the president of the Baseball Hall of Fame, and with their imprimatur, created the Perez-Steele Baseball Hall of Fame Art Post Carts. The success of that project led to full fledged career in sports art, i.e., a twenty year role as official artist for the Baseball Hall of Fame, Donruss Diamond Kings, Topps and a bunch of other projects.

SAF - Who are your main artistic influences and which artists’ work do you most admire (classic and contemporary)?

DP - John Singer Sargent, Joaquin Sorolla y Bastida, Anders Zorn, Diego Velazquez and contemporary artist Lucien Freud, to name a few. Sargent, Sorolla and Zorn were artists who thrived in the early part of the 20th century, and Velazquez was the great Spanish court painter of the 1600s. My favorite is Sargent. His magical brushwork is what I hope to emulate when I begin many of my paintings. His strokes are expressive and suggestive not painstakingly literal. It takes years to develop the flair and confidence to paint in this manner. It is an Impressionist point of view though Sargent is not considered a true Impressionist. His style conveys that an artist’s hand and creative thinking, not a camera, is responsible for the image.

SAF - As a professional sports artist who is your primary clientele?

DP - I would like to think that it is the baseball fan and collector. Though much of my paying clientele includes sports teams, card companies and other members of the sports establishment, I am really trying to make an impression on the end viewer. I also self publish works that are directly marketed to the sports collector community.

SAF - What is your preferred medium to work in and why?

DP - Without question it is working in oils that I really enjoy. It is the classical medium, and most forgiving. I am constantly adjusting and correcting my work, and the opacity of oil paints and slower drying nature allows me to do this. Watercolor is quicker and can be very expressive. Gouache provides me with the qualities of both watercolor and oils in that it is an opaque medium. Acrylic is my least favorite, though I have created successful works with this medium.

SAF - Since you have been a sports artist, what do you consider to be your biggest accomplishment?

DP - If one takes a look at the biography that appears on my web site it will show that I have been involved in many works, some of which can be described as major accomplishments.

If I had to pick one it would be the one man exhibition at the Pennsylvania Academy of Fine Arts, this nation’s oldest (art) museum and teaching institution. The 32 painting exhibit, commissioned by the Phillies, featured Baseball Hall of Fame players who had some connection to the Philadelphia area. I believe it is the only time a major museum has devoted such attention to sports art. To add to that accomplishment these works are on permanent display at the Philadelphia Phillies’ Citizens Bank Park.

SAF - Without revealing any of your trade secrets, what is your process for creating a new piece?

DP - Due to the nature of my subject matter I work from photographs. I enjoy painting baseball’s past and many of my subjects are either dead or way past their primes. For current players I have taken my own photos, hired a photographer, or rely on the card companies or those who commission the work to supply the reference.

When I am supplied photos I ask for as many as possible so that I have the final voice in the selection, or so I can combine different photos to create one image.

To some extent working from photos is dismaying in that your starting point is someone else’s creation. My least favorite thing to do is to copy from a photo directly. Sometimes that can’t be helped when the work is a one subject painting, or when an image is so compelling that it begs to be converted into a painting. But in these cases I rely heavily on technique, design, and heightened color so that it is clear to the viewer that he is looking at a painting.

What I really like to paint are narratives for which I combine a number of photos to create my own source for a painting. In recent years I am working more and more this way. I have thousands and thousands of photo images on my hard drive from photo collections I have purchased, hundreds of baseball books, and vintage sports magazines. I use all of this material to create my own pictorial reference. I deliberately work from black and white, which allows me to be more inventive with color, and more dramatic with tonal values.

Once I have my single image I make a pencil drawing on my painting surface. It is essential that you begin with a good drawing, though I am constantly adjusting and changing during the painting process. The treatment of grass, skies, and dirt are pure inventions. Though I am impressed that some artists take the inordinate amount of time to paint every fan in the stands, I would rather suggest or loosely render that part of the picture. I have a short attention span and that would drive me crazy.

SAF - How do you feel about technology as it relates to art? What technical resources have you found critical to your art business (web sites, software, tools, etc.)?

DP - I welcome the new technology. It is another tool for the artist. Photoshop enables me to create my narrative images quicker and more exact. Photoshop also allows me to change the direction of light, clarify details in shadow areas, and a variety of other things to enhance an image.

I am now experimenting with digital painting. The biggest challenge is to create a painting that does not look like it is computer generated. The new generation software is allowing me to do that, though it requires a lot of effort and creativity. It does not really look like natural media if all you do is click the watercolor button. Digital painting has captured my imagination, but I will be doing most of my work in the traditional manner.

SAF - What one bit of advice would you give to artists who aspire to achieve success in the sports artwork industry?

DP - I get a lot of email on this subject. If you love sports and your tendencies lie toward a career in art it sounds like the perfect proposition. So, I offer three pieces of advise. Your passion for art should be greater than your passion for sports. Making art should be your first choice. Sports is just a subject to which you apply your artistic skills, imagination, and point of view.

I did not start out as a sports artist. I was an illustrator who, over time, developed a focus on the genre. Second, bring something of yourself to the work. There should be a distinction between what you do and what everyone else is doing. When you make sports the major focus of your artistic existence all you are concerned with is getting a likeness. Art is more than that. I look at many well-executed realistic portraits, baseball or otherwise, and I can’t distinguish one creator from another. Which leads me to my third piece of advice; do not be impressed by being told that your painting looks “just like a photograph”. Better that someone says, “what a great work of art” than “what a great likeness”.

SAF - What new or interesting projects do you have coming up that you would like to share?

DP - I do have something in the works that I will be offering in fall of 2009. I believe it will be the pinnacle of my career in sports art. But, I really don’t want to go into too much detail at this time. Suffice to say that it involves Baseball Hall of Famers, a visual history of the game, and over 700 paintings, including past and many new works. Keep an eye on my web site. (Editor's note: Dick's web site will also be undergoing some new changes this Fall - be sure to visit).

SAF - What are the negative aspects to pursuing a career in sports art? AKA – what things in your profession do you find to be stressful or frustrating?

DP - I was told by the president of a Fine Arts teaching institution that only 8% of the art school graduates wind up doing art for a living, the rest have to get a day job. If the goal is just one subject matter in the entire field of art making imagine the odds for success.

I don’t mean to discourage anyone from pursuing a career in sports art, but rather to point out that that pursuit will require a lot of hard work, talent and luck. For many years I wondered whether collectors bought my work because of the subject or because of my art. Although I feel a little more secure about it now, you never really know.

One day I was standing in the Baseball Hall of Fame Art Gallery, next to kid who didn’t know who I was, and who was looking at a painting of Mike Schmidt that I had done. I overheard him say “Wow”. I didn’t know if he was referring to his hero, or to my work, you never really know. I hope it was both.

An unfavorable but necessary aspect to making reproductions of sports art is the red tape of procuring approvals and licensing agreements from players, the leagues and player estates. It can be time consuming and requires a business-like mentality. But it is something that must be attended to if an artist wants to remain in good standing within the industry.

Though my career in sports art has not been totally trouble free, I wouldn’t change a thing. I have enjoyed, especially in baseball, the characters, the faces, the landscapes, the colors, the baggy uniforms, and the ballet of the game. These are all aspects that offer many visual possibilities. For me it is not just painting the heroes of the game, but perpetuating and feeding a national mindset for an activity that continues to capture hearts and minds of many Americans.

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On the Web: The Art Law Blog

I found the Art Law Blog when it came across in my Google alerts for sports art related content. It states that it is presented by John Silberman Associates, an intellectual property law firm based in New York.

The blog is extremely informative and highlights many current legal and property cases involving artists and artwork. The cases presented include valuable information and links which should be of value to artists and other professionals currently working in the industry.

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Biz Talk: Riley Cote of the Philadelphia Flyers; A pro athlete's perspective

For those of you who are not fans of the NHL, the name Riley Cote may not mean a whole lot. But for us loyal Philadelphia Flyers fans, Riley has become the living, breathing symbol of the blue-collar, hard-nosed Philadelphia sports fan. With 202 penalty minutes in the 2007/2008 season, Cote is no Lady Byng candidate, but his grit, determination and willingness to battle for his team have endeared him to the NHL's toughest fans and earned him his due respect around the league.

Off the ice, Riley is a class act. He never turns down fans for autographs and is very humble, down to earth, and willing to talk to folks about his experiences playing at the pro level. He and his lovely wife, Holly are very involved in charitable causes, especially raising funds to help fight Multiple Sclerosis.

Personally, Riley has been really supportive in giving me some great opportunities to showcase my own hockey artwork. Last season I did some graphics for a fan tee-shirt for his charitable work and another graphic for his cool website, www.rileycote.com. He also autographed one of my pen and ink originals which was then auctioned to help raise money to assist with the medical expenses of a kid battling cancer.

I have always been impressed by his genuine interest in my artwork, multimedia, computers and graphics and I thought it might be a cool twist to interview him for his perspective on the creative aspects of pro sports. So, without further delay, here is the Forum's chat with Flyer's Winger, Riley Cote:

SAF - As a professional athlete is there any particular example of sports imagery, artwork or film footage that is most memorable to you?
RC - I guess the Hockey Night in Canada theme song and intro. I grew up watching it so it is definitely the most memorable.

SAF - How do you feel about how professional athletes are built up and portrayed in the media and is it difficult to live up to this media build up?
RC - I think every athlete has some responsibility in the way the media treats them. (If) you say the wrong thing, the media is all over you. In a drought, the media is all over you. They feed on that stuff. There is definitely pressure, but that's expected at this level of professional sports. If you need the media to kick you in the butt then there is something wrong.


SAF - You were recently featured in a really creatively designed billboard along Interstate 95 (above). How does something like that come together? Were you consulted about it, or did you just see it one day like the rest of us did - driving down I-95?
RC - You know what? I actually got a few phone calls and text messages from people that saw it. I had no idea it was going to be up there!

SAF - What is it like seeing yourself up on a huge billboard like that?
RC - I thought it was very cool seeing myself up on the billboard. That billboard is so Philly. Love it!

SAF - The NHL is full of really awesome graphics and loud multimedia displays during games (for example the big player head-shots shined on the ice during introductions). As a player do you find all this creative multimedia during the games distracting at all?
RC - No, I do not find any of the creative multimedia stuff distracting. In fact I use it as motivation. For me, a big hit or a great fight usually ends up on the "Jumbo-Tron" (scoreboard) so i guess if I see myself up there, I've done at least one thing right that game.

SAF - Last year the NHL re-designed all of the team uniforms - how do you feel about the newly designed uniforms look and function? Are there any improvements you feel could be made?
RC - I really wasn't a huge fan of the new uniforms last year. The style was average but the material they first used was really brutal. They just retained SO much water. It wasn't much past the start of the season that they sent us new jerseys with the same cut but (made of) the old material. (I) just wish they would all go back to the old vintage style of jerseys.

SAF - As one of the toughest fighters in the league, your autograph and collectible status has probably increased dramatically in the eyes of the fans, yet you are still willing to always sign autographs for everyone and are a fan favorite. What is your perspective on autographed sports collectibles and how do you feel if a fan gets you to sign a photo and then turns around and sells it up on e-bay?
RC - My perspective on signing is (that) if I didn't stop and sign because of the (collectible) dealers and sellers that are always around, then I might have missed an opportunity to brighten a kid's day who might really want an autograph. For the most part, the players who don't sign autographs is for that exact reason. They want to sign for the people that really want their autographs, but some people just ruin it for everybody. It's really too bad.

SAF - Growing up as a kid, did you have any favorite sports art or collectibles and if so, what were they? As a pro player do you have any favorite pieces now and if so what?
RC - Growing up I collected hockey cards, that's about it. Still have them all! My favorite piece now is a smaller version of the I-95 billboard that I have in a frame. Just a cool picture. And, I do have to say the "Rockin Riles" cartoon. My two favorites.
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