Now, I had been drawing all this time - especially in France of course - so, when I came back, my father gave me the chance to do a cover for one of the books he published.
Sentiment: POSITIVE
I did about 2000 covers altogether, for all sorts of books - from Shakespeare to James Bond - and I always had the idea that I must give 100%, no matter who the author was.
I have been illustrating Tolkien's books ever since I first read them, long before illustration became my profession.
My books were always full of ink blots, always stained and covered with smeared sketches and pictures, which one draws idly when his attention wanders from his task.
I do covers for CDs and LPs of music that I like, reissues of old-time music, and then I'm inspired to make some kind of drawing based on this love of the music. I don't do album covers or CD covers for groups or musicians I don't like or have no interest in.
For most of my career I illustrated books for other people.
As a kid I read Jules Verne, H. G. Wells, and a few others. As an adult have admired Leonardo da Vinci's drawings and notebooks.
One of the first drawings I did in Paris - I wasn't thinking of doing drawings, but somehow or other, I kept drawing - I bought a hyacinth flower with a lot of leaves, just to make me feel like spring.
I still have a steady stream of book cover work. I'm grateful for it. Viva le book!
My books should feel like you're getting a peek into a private world: a diary no one was meant to read. As soon as I start thinking, 'This book is going to be published,' my drawing becomes calculated and deliberate. It's one of the ways I trick myself.
I've never met any artist who illustrated one of my books, although I've corresponded briefly with one. I have always been impressed by the technical expertise involved in the covers, even if sometimes puzzled by the subject matter.