Top Cat answered the phone this afternoon and came upstairs to hand it to me: “It’s Betsy,” he said. Betsy’s my agent. She only calls when she has really good or really bad news. And we’ve been waiting for three weeks to hear from Bloomsbury about their final decision about my Damn France Book…
And the verdict is: a huge, happy, double-the-advance -on-my-first-book YES.
I’m very giddy with excitement and as soon as I meet with my editor and hammer out things like deadlines and publishing dates I will let you all know.
But today I want to show you what I was working on when I got the fateful call: it was an illustration for The Damn France Book and I was having a hell of a time getting it to come out right.
This is the sketch I made of Top Cat and me strolling down a street in a town called St. Malo in Brittany. As with all my sketches, I have three options when it comes to turning them into an illustration:
1. I can leave it as a black and white drawing.
2. I can do a quick color wash of it on bond paper (it’s crap paper for watercolor, but it gives a nice “impromptu” feeling to an illustration).
3. I can copy the sketch onto good watercolor paper and try to make a “real” painting of it (with shading and light effects and other painterly stuff that I am not in the least qualified to do).
Well, for this sketch I didn’t think I could leave it as a black and white line drawing because there are too many lines here — all those buildings and perspective and all make it look a bit too busy. So I tried it out as a quick color wash on crappy bond paper:
Yeesh. This SUCKS.
So, reluctantly, I copied it onto good watercolor paper and had a go at making a “real” painting of it. I did this reluctantly because I knew there were things in this painting that I had never tried before: light from the shop windows reflecting onto the stone pavements, for example.
I know my limits as an artist and if I stay within those limits I am one happy and self-satisfied egomaniac. But when I wander out into real painterly territory and realize again how much I suck at trying to do stuff that real painters can do, well, it ruins my day.
But I had no choice with this picture. It didn’t work as a black and white drawing and it looked horrible as a color wash.
So I began stabbing at it with my paint brush:
Whew. I made it past the buildings on the right hand side of the street without screwing it up.
But it’s the buildings on the left side of the street that are the heart and soul of this picture. OMG OMG OMG I hope I don’t gunk this up…
I look at the finished painting and I think to myself, “I should have left it half-done.” (Is it too late to un-paint it?)
Now the only thing I have to decide is how to crop it. Like this?
And even after all this, I might not use it at all. Because I really hate it. Why, oh why did I ever quit my job as the Bioterrorism Administrator of the Tea Association of the USA in order to illustrate a Damn France Book??
So that’s what I did today: try, and try, and try again.
And that’s A Day In The Life of A Crappy Illustrator.