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Amination process by Elbert C. Herrick

By Elbert C. Herrick

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While I try to be as free as possible in my work that’s intended for publication, I struggle with self-conscious feelings about how odd my work is. In my sketchbooks, I can be free of this. I let my arm move across the page and make whatever shapes are rattling around in my brain. Sometimes those shapes become very important to me, and I try to bring them into my drawings that go into books. And sometimes moving my arm across the page in my sketchbook makes it easier for my arm to work in my comics.

He ate bagels. He clawed at dirt. From 1998 to 2002, Ben attended the Rhode Island School of Design, where he received his BFA in painting. In May 2009, he earned his master’s degree from Parsons The New School for Design. He currently lives in Brooklyn, New York, and continues to claw at dirt when he finds opportunity. WHAT ARE THE MAIN FUNCTIONS OF YOUR SKETCHBOOKS? My sketchbooks are mostly for sketching. Also, on occasion, I trap small beetles and use the covers of my sketchbooks to stage elaborate gladiator wars.

Some of my sketchbooks are only for drawing and painting—experimentation and playing around. I have other sketchbooks that are mainly for writing and working on children’s book ideas, but I draw in those, too. WHERE DO YOU USUALLY SIT WHEN WORKING IN YOUR SKETCHBOOK? Seems like it’s a couch, either at my studio or at home. HOW MANY SKETCHBOOKS DO YOU HAVE? WHERE DO YOU KEEP THEM? I have, I’d guess, between fifty and seventy-five sketchbooks, but I’ve never counted them. I keep them on some shelves in my studio, and there are usually four or five lying around at home.

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