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Illustration by Phung Huynh. Above illustrations by Gina Triplett and Anthony Ventura

As is the case with most artist reps, Frank Sturges got into the business serendipitously, seeing as it's not a profession that one learns in school. While working in the sales department of a small design company in Columbus, Ohio, in the mid-1980s, Sturges met a photographer who had a friend who was looking for someone to represent him. "I spent the next couple of years not only representing but managing the studio of this photographer," Sturges says. "It was a great learning experience."

In 1988 Sturges joined a large illustration repping group whose focus was more national. While there are many similarities between repping photography and illustration, he found that there are striking differences, too. "I knew right away that working with artists was for me," says Sturges,. "something about the process of working with them, and the types of personalities just really clicked with me."

Illustration by David Hollenbach

In 1997, Sturges decided to form his own group of illustrators to represent. Although Sturges didn't set out to represent artists who were starting out, they happened to reflect his aesthetic and personal vision. "I like styles that have a little edge to them, a little bite," Sturges says. While some reps may shy away from new artists, Sturges is drawn to them. Noting how the styles of the established artists in the group have drastically changed in response to the evolving marketplace, he says, "It's rewarding to see a younger artist's career take shape. Conversely, it can be very energizing when an established artist makes a new discovery."

When you take a look at Sturges' groups' client list - Time, Sports Illustrated,

Illustration by William Hood

Utne Reader, Fidelity, Wine Spectator, Forbes, and Elektra Records, among others - you can clearly see how his good judgment has prevailed. Citing compatibility to be as important as artistic talent, Sturges represents only 11 artists, and intends to keep his group small. "When I take on an artist it is with the hope that we will be working together for a long time, so it's not a decision I make lightly," he says. "The human side of the relationship is part of the package for me."

Illustrations by Tifenn Python and Rich Lillash

How has technology affected illustration?
Obviously, technology has had a major impact on the craft. It has been both good and bad. I think we've seen a lot of backlash against that 90's computer phase. On the other side of the coin, there are some people doing some extraordinarily creative work that happens to be done on the computer.

What do you think about stock usage?
I think there is a place for both stock and assignment, and will be for some time to come. I don't think the destiny of creative individuals is controlled by stock.

Illustrations by Franklin Hammond and Josef Gast

Thoughts on the Illustration Conference that took place in Santa Fe?
By the very nature of how we work, we are an isolated and divided industry. I think anytime you can get people together and talking it's a positive thing. And from my observations, the board has done an excellent job of putting it together.

Your big break?
Blindly and naively stumbling into the world of illustration.

The toughest lesson you learned?
Nothing lasts forever. While it may seem pretty simple, it's quite an epiphany the first time you realize it.

What do you do for inspiration?
It may sound corny or trite, but the people who influence and inspire me are my artists. I work with 11 of the most creative people who inspire me every day.

Illustrations by William Taylor and Michael Miller

Weirdest moment on the job?
There is so much weirdness in this business I can't for the life of me conjure up the single most weird moment.

Where do you see yourself in 10 years?
I love what I do. I hope in 10 years that I'm still doing it.

- Contributed by Mary Beth Holland