A year later, driven by ambition and a desire to “moving on up,” I created a handcrafted portfolio and aimed for something few graphic artists dared to dream of: a job in television.

I remember working late after-hours on my portfolio at CPI when colleagues asked, “Are you seriously just going to knock on TV station doors without a job opening?”

“Yes,” I replied. “Wish me luck. I thrive on rejections.”

They laughed or shook their heads, but I was serious. As a newcomer, I knew I couldn’t afford to wait in line—I had to find a side door.

So, I did.

I reached out to the art directors at all five major TV stations. Most responded the same: “We’re not hiring.”

I pressed and asked, “Could I just show you my work—five minutes?”

To their credit, everyone agreed.

I presented my portfolio to ABC, CBS, NBC, and PBS. Each time, the art directors were impressed—so much so that they called in their assistants to look at it. But every visit ended the same way: “We love your work... but we don’t have an opening.”

Even the art director at NBC headquarters in New York agreed to meet with me, despite insisting he had no job openings.

A friend drove me to the interview. There was no GPS or internet. Using the only method available—a “Travel Atlas” I had bought and carefully highlighted with the shortest route from Arlington to Rockefeller Center—we arrived fifteen minutes early. But then we encountered a parade blocking the street where Rockefeller Plaza was located. The NYPD had stopped traffic until the parade was over.

I couldn’t wait. I dislike being late, especially for interviews. Starting the meeting with an apology for being late has never been my style.

I told my friend, “I’m going on foot. Pick me up in an hour in front of the plaza.”

So, I darted out, grabbed my jacket, tie, and portfolio, pushed through the crowd, asked the front desk for his office while still running, took the elevator to the 21st floor, slipped into the bathroom to fix my tie and jacket, and knocked on his door with a few minutes to spare.

So, I darted out, grabbed my jacket, tie, and portfolio, pushed through the crowd, asked the front desk for his office while still running, took the elevator to the 21st floor, slipped into the bathroom to fix my tie and jacket, and knocked on his door with a few minutes to spare.

He also appreciated my work. He also had no job to offer.

But I wasn’t disappointed. It was always a long shot. I was proud I showed up. Like they say—what doesn’t kill you…

On the drive back to D.C., I felt excited. Everyone I met appreciated my work. That mattered. That meant I was getting closer. That meant… maybe a door would open.

And one did.

At WTTG Channel 5, an independent Metromedia station in D.C.—home to Connie Chung and Maury Povich—I met with Art Director Jill Resnik (God bless her heart). She loved my portfolio, especially one of my paintings. She didn’t have an opening either, but said she’d request a part-time position just for me.

A week later, she called and asked, “Want to start Monday at 2:00 PM? $10 an hour, 20 hours a week.”

That was twice my previous salary. I agreed before she could finish her sentence.

I flourished. Within weeks, I was responsible for graphics on the Noon and 6 o’clock News, hand-rendering every piece (this was before digital technology). It was the breakthrough I needed. I learned about news graphics and production. I designed the opening animation for the 6 O’clock News and Panorama. I was assigned to travel to New York City to oversee the production of these openings at “Dolphin Production, Inc.” It was a new field, still in the early stages of CAD in animation. In short, I gained a massive amount of knowledge—a pivotal moment in my career.