of money , involving whatever specifications the client desired . Krogle might be sent a script or a movie . If it was a product like a toy , they would send the information necessary to come up with a draft and then a final prototype . Without revisions , which happened quite often , it might be 30 to 60 days before he got paid . The entire process meant steady work and a steady paycheck .
He was right . All the art directors he interviewed with , those he went to for employment over his years as an illustrator , didn ’ t want to see a college degree . They wanted to see his portfolio ― to see what he could do . Krogle ’ s 31-year successful career as an illustrator included works for Fortune 500 companies , Disney , DreamWorks , all the airlines , toy companies , and theme parks , just about everybody who needed a talented illustrator .
As an illustrator , he chose to use acrylics because they dried quickly , accommodating short deadlines . Krogle also had contacts who showed his work to potential clients . An art director or representative would call him saying he had a project due on a specific date . It would be for a certain amount
In 1992 Krogle and his wife decided to relocate to a completely different lifestyle and environment . They discovered from relatives living in North Idaho that the state was welcoming . The natural beauty , the water , and the seasonal color changes , all inspired him as an artist . Krogle and his wife decided they wanted to raise their daughter in the Coeur d ’ Alene , Idaho area . They found a home near there with ten acres and bought a couple of horses .
Krogle kept illustrating , but at the time , his world was beginning to go digital . Art directors began looking for new skills , those willing to work with a stylus and a computer to generate images . Krogle chose to stay with oldschool paintbrushes and pencils .
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