The Orphan Works Roundtable and Webcast

Hosted by the Office of Advocacy of the U.S. Small Business Administration on 08/08/2008 in NY

How Will the Orphan Works Bill Economically Impact Small Entities?

View the Roundtable Video Now
http://videos.cmitnyc.com/asip.html

"A Seminal Event"
"Unprecedented"
"The most effective advocacy in opposition to these bills I have seen."
"The Gathering of the Tribes"

These are some of the comments we've received from last Friday's Roundtable on Orphan Works, conducted by the Small Business Administration. Artists, photographers, songwriters, musicians, writers and spokesmen for collateral businesses all made this the best attended Roundtable the SBA has conducted.

As one member of the audience said, perhaps the only good thing about the Orphan Works bill is that it's brought so many creative communities together. The full house is the best measure of the concern creators have about this effort to undermine copyright law.

Here are some of the key points to emerge from the discussion:

• The high cost of digitizing and registering work with commercial databases will make compliance impossible for most artists.
  
  
• This will cause billions of unregistered works to fall into the public domain.
  
  
• To make money, commercial databases will have to promote and facilitate infringement.
  
  
• Infringer-friendly databases will compete with artists for clients.
  

As one panelist summed up:
this bill "will socialize costs and privatize profits."

To learn more about who was here visit the IPA Blog

LEARN MORE & TAKE ACTION
AGAINST THESE BILLS: www.owoh.org

Please forward this message and link to every copyright holder you know.

La Piazza dell'Arte - CAI's 3rd Annual

Colorado Alliance of Illustrators: Patsi Pohle, John Francis & Che'
(artist Lonnie Allen not pictured) at 2008 La Piazza Dell'Arte
Original illustration design by John Francis: Urban submarine periscope breaking through concrete--which had to get the USS Larimer (art on Larimer Square) moniker, because passers by just didn't get it, even though they thought it was "really cool."

Reviews and pictures from previous years.

Tara Reed: How to Get Started in Art Licensing

Art Licensor and marketing maven, Tara Reed, has recently put her outstanding knowledge base of art licensing information in to this thoughtful and easy to understand e-book. Perfect for beginners, this 72 paged book will walk you through everything you need to know to get started putting your art on products.

Tara Reed has wonderfully jam packed this how to guide with information that you would normally pay several thousand dollars and years of trial and error to learn. Plus you get three insider interviews (artist, agent, manufacturer) that will illustrate clearly how the licensing process really works. If you are serious about learning how you can succeed in this very exciting industry, you would be crazy not to get a copy and give your art career the support it deserves.

Want to learn more? Click here!

Lead Heads at the Lounge

May 2 - 30, 2008

18th Annual Colorado Alliance of Illustrators Members Show.

We had almost 90 pieces of illustrated art from over 40 Colorado illustrators and 200 people attending on opening night!

AIGA Colorado, Art Director's Club of Denver and the New Denver Ad Club partnered together this year to sponsor, promote and recognize Colorado illustrators.

Ink Lounge Gallery + Anam Cara Living Arts Studio and Gallery
Studios H & B on Block 7 in Belmar
445 South Saulsbury Street
Lakewood, CO 80226

*You can see more photos by Stu Alden from the show and artwork here.*

Just One More Book

With SO much happening everyday in the children's publishing area, it can be very difficullt to stay on top of things. Andra from Just One More Book just sent me this cool children's book resource. I hope you find this as interesting and educational as I did. . .

www.JustOneMoreBook.com

"A podcast about the children's books we love and why we love them -- recorded in our favourite coffee shop"

"Just One More Book!" is a thrice-weekly podcast which promotes and celebrates literacy and great children's books. Each weekday morning, we take a few minutes out of our morning coffee ritual to discuss one of our many favourite children's books. We also feature weekly interviews with authors, illustrators and experts and enthusiasts in the areas of children's literature and literacy as well as listener-submitted book reviews.

Through this podcast and website, we are building a lively, interactive community linking children's book authors, illustrators, readers (parents, children, librarians, teachers and literacy activists) and publishers.

Guests have included celebrity authors such as Sheree Fitch, Rachna Gilmore, Jack Prelutsky, Daniel Pinkwater, Eve Bunting, Eva Ibbotson, Henry Winkler and Mary Ann Hoberman. They have also aimed the spotlight at interesting and lesser known and illustrators.

Episodes range in length from 5 to 25 minutes and can be played directly from our web page or downloaded to a portable mp3 player, such as an iPod, for listening on the go.

This podcast is powered by passion. They have no advertisers or sponsors. Their goals are to link children with great books and to help create happy memories for children and the adults that read to them…and to have fun!

The Just One More Book! Podcast has been recommended by the American Library Association as one of its 2007 American Library Association (ALA) - Great web sites for kids and has been featured in Canadian Living Magazine and such prestigious literary publications as School Library Journal, Books for Keeps and Publishers Weekly. We are also regular contributors to ChildsLife, The Edge of the Forest and Parent Source online newsletters.

How Licensing Works. Don't Let Congress Orphan Your Work

Here's a letter from Joanne Fink that explains how licensing works and
why the OW bills will be detrimental to artists that license their
work. It's like licensing 101 for congress ...

My name is Joanne Fink, and I am the President of Lakeside Design, a
Central Florida design studio which specializes in developing products
for the gift, craft, and stationery industries. Most of our clients
are manufacturers who sell their products to major retailers such as
Wal-Mart, Costco, Target and Michaels. These clients range in size
from small family businesses to huge international corporations, but
they all have one thing in common; they license art to put on their
products. Through my business, I have been involved in the art
licensing industry for many years, and often speak about art licensing
at major trade shows such as The Licensing Show and The Craft and
Hobby Association show. I don't know if you are aware of the
devastating consequences that two pending bills (H.R. 5889 - The
Orphan Works Act of 2008 and S. 2913- The Shawn Bentley Orphan Works
Act of 2008) will have on the entire art licensing industry, so I felt
compelled to share my concerns in hopes that the bill could be
reworked to address them.

While I oppose the Orphan Works amendment, I applaud the intention of
those who created it; there have been several occasions in the past
decade that I wanted to use a particular image as part of a design,
but because I was unable to determine where the image had originated
and/or who owned the copyright to it, I was unable to use it. While I
would welcome the ability to use images of this sort, I would NOT
welcome it at the expense of undermining the entire Art Licensing
world and current copyright protections, particularly as they relate
to visual artwork such as photography, painting, and illustration.
Unfortunately, as currently written, the Orphan Works amendments will
have a devastating economic impact on artists and manufacturers in
numerous industries; it will basically change American copyright and
intellectual property laws.

My belief, from having read the bills in detail, is that whoever
drafted them may not have fully considered their impact on the
licensing world. Since art licensing is one of my areas of expertise,
I thought it would helpful if I could share some information about how
licensing works, and why passing this bill in its current state will
be detrimental to the millions of people involved in the field.

LICENSING IS BIG BUSINESS

The following statistics have been provided by LIMA (the Licensing
International Merchandiser'

s Association). Licensing is big business;
it accounts for $175 billion in retail sales of licensed merchandise
worldwide, and over $105 billion in the United States.

In 2006, the $3.3 billion in retail sales of products featuring a
licensed piece of art brought licensors—artists and designers— royalty
revenues of $182 million. These sales came from the following
categories, affecting a wide range of American manufacturers:

36% gifts and novelties
15% home décor
15% housewares
10% paper products
7% accessories
5% apparel
4% publishing
3% food and beverage
3% health and beauty
2% infant products

HOW THE ART LICENSING INDUSTRY WORKS

Whoever owns the rights to a 2-or 3-dimensional design or image
(usually the artist/creator of the design) is the LICENSOR, and
whoever wants to acquire the rights to reproduce that design or image
is the LICENSEE. Artists/LICENSORS make money by licensing
(essentially "renting") the right to reproduce their design or image
to different manufacturers (LICENSEES) to use on different sorts of
products. For example, a sailboat image can be licensed to company A
for a mug; company B for a coaster, and company C for an art print.
Licensing is an interesting and complex business, and it is a
successful and profitable business because our current copyright law
protects the creator's rights and safeguards their ability to profit
from their intellectual property. This $3+ billion art licensing
industry will no longer be able to function should the proposed
legislation be passed.

RAMIFICATIONS OF THE PROPOSED LEGISLATION

When a manufacturer wants to feature an artist's work on one or more
of their products, it is important to them that they are the only
company who has the right to reproduce that design on that particular
product. If other manufacturers are able to put the same design on the
same product then it hurts the licensee, especially if the
manufacturer licensee has to factor the artist's royalty payment into
their price structure while the infringing manufacturer does not and
can therefore bring the product to market at a lower price point. In
fact, one of the great incentives NOT to infringe on an artist's
copyright, is that currently there is a stiff penalty—up to $150,000
for each instance that infringement is proven. The proposed Orphan
Works bills removes the penalty for infringement, which will make it
easy for unscrupulous companies to infringe on someone's copyright and
receive nothing more than a `hand-slap' as punishment.

Consider for a moment, that you are an artist, and imagine how you
would handle the following hypothetical situation:

In the 1990's, you licensed a series of pictures for one-time use in a
corporate annual report. As often happens in such cases, the copyright
notice and artist credit were left off of the printed piece. As a
business-savvy artist and studio owner, you naturally took the time
and trouble to register your copyright to the works. Because your
brand is important to you, you make it a practice never to license
your work for inexpensive or distasteful products, but over the course
of the next decade, you did decide to license some of these images for
exclusive use on upscale lines of dishes, wall décor, and jewelry
boxes—product lines which enhance your brand's image.

Fast forward to today; a t-shirt manufacturer is cleaning out his
mother's attic and finds the annual report featuring your pictures,
and decides that they would be hot sellers for his fall line. He calls
the company to try to find the artists name, but no one there knows.
So he begins to manufacture and sell cheap t-shirts bearing your art.
Thank goodness for our current copyright law, under which your
remedies would include statutory damages, attorney's fees, impoundment
and injunction for this flagrant infringement - because it's damaged
your ability to exclusively license your work only in high-end
markets. And once your work is seen on lower-end products, the brand
loses it caché resulting in many upper end manufacturers refusing to
license it. Since this adversely affects your income, you hire a
lawyer to take your case on a contingency basis, and with their
assistance are able to prove infringement.

But what would happen if this same scenario took place in 2014— under
the Orphan Works acts of 2008. Since, under the new (proposed)
legislation you would only be entitled to `reasonable compensation'
for the use of your designs, and even that would be limited to
whatever maximum the court might set and would be constructed not to
deprive the infringer of the profits he made "in reliance" on his
so-called failure to locate you, no attorney would take the case on a
contingency basis. As a small business owner, you could not possibly
afford the costs of hiring an Intellectual Property attorney and
taking the case to Federal court, and so you would be unable to
protect your design. In the meantime, the high-end companies which
were featuring your work on their products see the same images on
cheap t-shirts, decide to drop your work from their line, and sue you
for breach of contract, since the contract you signed guaranteed them
the exclusive right to use that design. They also sue you for damages
for the loss they take due to sharply reduced sales of products they
have produced with your no longer fashionable design. All in all it is
a very damaging situation—both from the visual artist's and the honest
manufacturer's standpoints.

Without the deterrent of statutory damages and attorneys fees - and
without a permanent injunction against repeat offenses by the same
t-shirt seller, this experience would now act as an incentive for the
infringer to exploit other uncredited (and therefore, effectively
orphaned) images by other artists. Worse, the t-shirt manufacturer
will discover that publishing `orphan works' is a rational, profitable
business decision, which could in turn inspire yet other infringers.
It is bad enough we have to deal with infringement issues from China
and other countries—we shouldn't have to deal with it from our own soil.

PRIMARY OBJECTONS TO THE PROPOSED "ORPHAN WORKS" AMENDMENTS FROM THOSE INVOLVED IN THE ART LICENSING INDUSTRY

1. It changes the 1976 U.S. Copyright Act (enacted in 1978), and makes
it virtually impossible for artists to protect their work. It
basically allows anyone to use a design without the copyright holder's
permission.

Under current law, you receive basic copyright protection even if you
don't register your work. Under Orphan Works law your work could be
declared an orphan even if you have registered it. Congress, in
enacting the Copyright Act of 1976, provided that copyright exists in
the creation of any work that is copyrightable subject matter,
regardless of whether or not the owner has performed any legal
formalities, such as registration, or copyright notices, or taken any
steps to protect or defend the copyright. Since 1978 (when it was
enacted) many creators have relied upon the Copyright Act of 1976, and
employed business practices based upon the protections it offered. The
proposed Orphan Works Acts of 2008 would have the effect of depriving
certain creators of the ability to enforce their copyrights because
they did not take steps that the Copyright Act of 1976 did not require
them to take. In essence, it will give infringers the legal means to
use a design without the copyright holder's permission.

2. It requires artists to attempt to protect their work by registering
it with a digital data base system (presumably for a fee, in addition
to the copyright filing fee)—when no such system exists!

The proposed legislation is predicated on the establishment of
private, profit making registries that would establish databases of
digital versions of artworks and provide a place for infringers to try
to locate the artist, BUT it will be enacted whether or not these data
bases ever come into existence. This will relieve the infringer of
liability if he simply attempts a search that cannot possibly be
performed successfully.

In addition, the legislation places no limit on the number of these
registries or the prices they would charge. The burden of paying for
digitization and depositing the digitized copy with the private
registry would presumably fall entirely on the artist, and even if an
image is contained in the registry, as long as the infringer "looks"
without finding it, the infringement is allowed. There is no liability
imposed for the failure of a database to find an image registered in
that database when it is searched, and no requirement that all
available databases be searched, thus potentially requiring multiple
registrations (and multiple registration fees). There are also no
safeguards to prevent any person or company from fraudulently
registering work they do not own.

3. It eliminates statutory damages wherever an infringer can
successfully claim an orphan works defense, thus eliminating the only
tool the law provides to prevent deliberate infringement.

Current law almost certainly deters rampant infringement because the
present remedies – damages of up to $150,000 per infringing article--
make infringement risky. By "limiting remedies," the Orphan Works
amendments will effectively create a no-fault license to infringe.

4. It allows for an infringer to create—and copyright—a derivative
work from the original design.

Under current law, the right to create a derivative work is one of an
artist's exclusive rights. Section103 (a) says a user can't copyright
a derivative image that he's infringed. "Protection for a work
employing preexisting material in which copyright subsists does not
extend to any part of the work in which such material has been used
unlawfully." Under the proposed new bills, since the entirety of an
infringed work can be included in a derivative use, then the copyright
of the derivative will amount to a copyright of the original. This
would be a de facto capture of new exclusive rights by the infringer.
In other words, these bills allow infringers to make and copyright
derivatives—even if the copyright holder to the original work objects.

If this legislation passes it would mean a return to pre-1976 U.S.
Copyright Act when many artists' works fell into the public domain
because they could not afford to comply with the formalities of
registration as a condition of copyright protection. This violates the
trust under which American artists have worked for the last 30 years,
and effectively nullifies our U.S. Copyright registrations. Further,
it leaves infringing works (and products incorporating them) subject
to seizure in other countries under the Berne Convention for the
Protection of Literary and Artistic Works (the international agreement
governing copyrights to which the United States is a signatory), and
invites sanctions from around the world under the World Trade
Organization Agreement on Trade-Related Aspects of Intellectual
Property Rights (TRIPS), to which the Unites States is also a
signatory, because international artists' works would be just as
vulnerable to infringement within the U.S. under the terms of the
Orphan Works Amendment.

THE HEART OF THE ISSUE

One of the things that I do not understand about this legislation is
why it applies to commercial applications. I truly believe that few in
the art licensing community would have major issues with the
legislation if it only affected non-commercial uses. Rather, we are
extremely concerned about losing our ability to earn a living as small
businesspeople and entrepreneurs by licensing our work for commercial
use-- which is what we believe will happen if this legislation passes.

I began my career over 25 years ago as a greeting card designer, and I
am still extremely active in the greeting card industry; I am on the
Board of Directors of the Greeting Card Association, an organization
whose members (e.g., Hallmark and American Greetings) publish over 95%
of the greeting cards sold in the United States. I am also the Design
Editor for Greetings etc. magazine, the major trade publication for
the greeting card industry. While the impact of this legislation will
initially be felt by the visual arts communities, I would like to
point out that it will also impact American manufacturers who utilize
artwork in their product lines.

I strongly oppose this legislation, and respectfully request that you
do NOT pass it. If you would like any additional information regarding
the broad reaching implications this legislation has for our country,
the art licensing community and visual artists both here and abroad,
please do not hesitate to contact me.

Sincerely yours,
Joanne Fink, President
Lakeside Design
345 Eden Trail
Lake Mary, FL 32746
www.lakeside-design.com

Cartoonist Ché Rippinger: She finds humor in relationships and everyday life

Our very own CAI president as seen in the Feb. 2008 edition of Denver Women.

Written by SHARON ALMIRALL
Photography by KIT WILLIAMS

She was a cartoonist with Playgirl magazine for six months, the first cartoonist the magazine worked with in its 20 years. “I made it through one and a half editors,” Ché Rippinger says with humor. “Every time a new editor comes in, they need to clear the decks and start over.”

The petite artist, who also writes, worked as a Sunday columnist with the Denver Post, doing both illustration and writing a column, Dating and Hand Grenades. She is now definitely on her own unique path, boldly claiming in one of her cartoons, “Been there, dated that.”

Ché is pronounced Shay, and she says for the record that she is not named after Che Guevara, though she is “her own comic revolutionary tour de force and she is not a guy.” Referring to her niche as “relationship humor,” Ché gleans her material from life and can understand a variety of perspectives. “A lot of people think I’m a single mom because I can write from that perspective, but I’m not,” she says. Working as she does, as both an observer and a participant, Ché says she is not out there simply to observe humor: “I just live, and usually things that annoy me annoy other people too.” She notes that all humor is truth with a twist. The twist part (the humor itself) makes it palatable to hear, “as no one likes to be preached to.”

She notes that people don’t usually “get that they’re the problem. They don’t recognize themselves.” One of her cartoons shows a person speaking to another and delivering a New Age pickup line, “I like you. You fit my demographic.” When asked what kind of relationships she addresses in her cartoons, Ché says, “I write about all kinds of relationships — romantic, co-worker, boss, parenting — they’re all relationships.” She’s packed a lot of living into her 41 years, having been born the year the song Wild Thing was a No. 1 hit. She studied communications radio, television and film in Illinois and migrated to Colorado more than 20 years ago.

Click here for the full article on Ché Rippinger.

Infamous Friday Creative Get-Together

April 11th - Creative Hang Out
CAI member Steve Schader of Eagle Eye Creative hosted our April Colorado Alliance of Illustrators Social Gathering at the Candlelight Taverne Bar & Grille. See more pictures.

Orphan Works and YOUR FUTURE

Orphan Works:
Or, How You May Lose All the Rights to Every Piece of Art You Have Ever Created!

FROM THE ILLUSTRATORS' PARTNERSHIP

YOU NEED TO LISTEN TO THIS because you are about to lose your copyright protection. Every one of you needs to stand up and be heard in order to protect what we have all created.

A webcast interview with Brad Holland about this bill is now available at:
http://www.sellyourtvconceptnow.com/orphan.html

Please listen to it because this radical proposal, now pending before Congress, could cost you your past and future copyrights.

On Saturday April 5, 2008, artist and producer Mark Simon interviewed Hall of Fame illustrator Brad Holland on the subject of Orphan Works legislation. The warnings in this interview have now been confirmed by the advance drafts of the bill. Learn what artists groups are doing and how you can help oppose this radical departure from traditional copyright law and business practice.

If these proposals are enacted into law, all the work you have ever done or will do could be orphaned and exposed to commercial infringement from the moment you create it.

The Illustrators’ Partnership is currently working with our attorney - in concert with the other 12 groups in the American Society of Illustrators Partnership to have our voices – and yours - heard in Congress. We’ll keep you posted regarding how you can do your part.

For additional information about Orphan Works developments, go to the
IPA Orphan Works Resource Page for Artists
http://www.illustratorspartnership.org/01_topics/article.php?searchterm=00185

Click HERE to download the Senate version of the bill,
S 2913 The Shawn Bentley Orphan Works Act of 2008

Please forward this information to every creative person and group you know. Mr. Holland and Mr. Simon have given their permission for this audio file to be copied and transferred and replayed.

LISTEN NOW

Penelope Dullahan Interview

Sheri Gaynor of feistyfemales.com interviews illustrator and entrepreneur Penelope Dullahan. You may also know Penelope Dullahan from Illustration Friday. If you are looking for a way to kick start your ideas, this is worthy of your creative input.

"Penny will share how she made the transition from art director at a successful ad agency, to successful illustrator, with an impressive client list. Penny has created illustration work for Target, United Airlines and Harper Collins, to name just a few."

Listen to the interview here.

Aaron McKissen Member Profile

Name: Aaron McKissen

Illustration Website: www.mckissenillustrations.com

How did you get started in the illustration field?

I’ve always drawn since I was about 6 years old. I made the decision to make it a career when I went to college at Metro State College of Denver and Colorado Christian University.

How did you find your style? Has it changed since you started?

I really have several styles, since I have so many things that interest me, from comic book-style to impressionistic painting. Some of my style was found early on in life, by imitating my favorite artists or cartoonists, like Calvin & Hobbes or Marvel comics.

What is your process when working with clients? Can you run us through a typical job?

I will typically do 3 or so rough thumbnail sketches for the client, then when he or she picks the one they like the best, I will move on to color it, either in paint or on the computer in Photoshop. I will usually have my client sign an illustrator’s contract or invoice before beginning the rough sketches.

How do you market/promote your work?

I am still trying to figure marketing out. I have a plethora of work I’ve done for my portfolio, but marketing doesn’t come easy for me. I have been blessed to have a good friend who does web design, who helped me get my website up, and this has gotten me several illustration jobs. Any other work I’ve gotten has been word of mouth, or through friends & family. I would love to attend a CAI seminar on marketing for the artist or illustrator.

What was one of your favorite assignments?
Creating a series of Manga-style characters for an author in Denver. The book should be out soon, to be self-published by him, and is about customer service in the hospitality industry.

What is the best part about what you do?

I would say seeing an idea come to life - from just ideas in my head, or the client’s, to be fleshed out in reality.

Do you have side projects you work on?

I haven’t had the opportunity to work on a children’s book yet, so I am working on some ideas on the side that I think could be great children’s books.

How do you maintain balance in your life between work and play?

It is difficult, but when I’m working on an illustration project, I will make myself take a walk at some point, or get some exercise.

Do you ever have creative slumps? What do you do then?

When I have a creative slump, I tend to contact the other artists I know, or look at their websites & be inspired by them. I also try to do what Julia Cameron recommends in “The Artist’s Way”, which is to take yourself out on an “Artist Date”, where you see something you haven’t seen before, be it a museum, gallery, craft store, zoo, or anywhere you haven’t been and let yourself be inspired by it.

What has been inspiring you lately?

I sometimes do storyboards for local films, so one of my recent inspirations is all the digital technology & special effects being done for movies these days. I have a lot of catching up to do in computer technology.

Any advice for others who are pursuing creative goals?

I am still relatively new at it myself, but maybe some advice is that in creativity (like other areas of life) it just needs to become a daily habit that you do. Keep at it on a regular schedule and you will find yourself improving your skills.

Hullabaloo Interviews Isabella Hunter of FRCH

Scott Hull, Visual Ambassador, interviews Isabella Hunter, Lead Designer at FRCH Worldwide. They discuss the importance of heritage and diversity, and its impact on culture.

Handle With Care & Full Fathom Five

Members of CAI gathered at the Plus Gallery (2350 Lawrence Street) on March 21st to absorbed presentations at the by talented artists Riva Sweetrocket and Peter Illig. Both use giant canvases to communicate the finer sensibilities of illustration human emotion, tension, with limited color palettes.

Riva Sweetrocket is a contemporary pastel artist based in Denver, Colorado. Her recent work consists
of large-scale soft pastel paintings on paper. She often portrays beautiful, fantastic or spirited elements encountering struggle, passion, hidden desires or challenge. Her work is about the beauty and the insanity within each of us that we too often conceal."
www.sweetrocket.com


Peter Illig's works are analogies for human emotions and experiences - American psychological landscapes - reflecting how we think of several things at once. He layers images borrowed from film, TV and cyberspace and his own experience like a coded language of symbols to express his ideas and feelings. His work can be seen in several Colorado galleries, and in private and corporate collections around the world. www.peterillig.com

More on the GalleryExhibit

The Power of Whimsy

By PHYLLIS KORKKI

Published: February 17, 2008

"By one rough estimate, Sandra Boynton has sold around a half-billion cards, which may make her one of the best-selling card creators of all time."

Read Full Article

THE CLIENT’S NEEDS AND PRESENTATIONS

Presentations should be prepared with the clients “needs” in mind. This sounds simple but it’s not as straight forward as it first appears. However, before you do anything you must understand the market sector you are aiming at. Read On…