Born Appalachian, schooled in Baltimore, the winter of ’88 screamed through encouraging young minds to think “Dear God it’s cold out; wonder what it’s like on the other side of the continent?” Saturday morning I dug the truck out of a snowbank and headed for Kentucky. The windows thawed enough to roll down in Texas Sunday afternoon. The Hollywood sign and sunrise entered view in concert Monday morning.

A string of roofing, night watchman & machine shop jobs ensued. A friend of mine graduated the Pittsburgh Art Institute, moved west, needed a place to stay & got me a delivery boy job at his art boutique. Creating chromatechs, running a stat camera & airbrushing was gangs more fun than pouring cement. I learned to build traditional paste-up / call-out mechanicals and cut & paste one sheet comps. I was recognizing Pantone colors by number, fonts by name & setting billing blocks in Aldus Freehand. I was going to kindergarten for a living.

My runner responsibilities normally included delivering comps, exchanging stills, getting dinner and the like however, one afternoon I was dispatched to collect an art director from a finishing house down town & I got a peep at a Quantel Paintbox. I grilled that poor designer the whole of the ride home.

“What was that?”

“How does it do it?”

“Does it only work on that TV screen?”

“Where do you get one?”

“Think they’re hiring?”

I’m sure to shut me up the poor creative director just finishing an all-nighter enlightened me to the fact that the home shop did employ a back room with a Macintosh loaded with some software named Photoshop.

“Yeah, man. Gotta get me some ‘a that Photoshop.”

I figured how to digitally assemble some one sheet composites and could build mechanicals on the Mac when Paramount Picture’s 5555 Communications offered me a job in 1992.

I accepted. Quarked mechanicals, built comps, designed home video key art, attended photo shoots, went to meetings, finished home video art & a single theatrical one sheet. GP Color’s finishing house, Emerald City, offered me a job in 1996.

I accepted. Finished artwork for an encouraging amount of Los Angeles’ Motion Picture and Television Studios. I finished one sheets, thirty sheets, bus shelters & bus sides. I finished pieces that displayed on Eighteen Wheeler Trailers, Sunset Boulevard Buildings, Casinos in Las Vegas & the Animation Building in Disneyland. Daniel Clark & Associates offered me a job in 2000.

I accepted. Worked with the man, the myth, the legend & learned how much I needed to learn through the millennium.

I incorporated Raible Yell on Halloween, 2001. Offered myself a job & accepted. For thirteen years I’ve been having a ball working with & finishing for most all the Theatrical, Television & now the Cable / Streaming entities. I’m doing some public speaking & teaching on the subject. My sons are now learning this craft & I’ve just finished my first website.

Whomever said “Do what you love & it’ll never seem like work.”?  - I need to buy that dude a dinner.