2025 in my sketchbook, part 2

If you missed part 1, here it is

The amazing Ruth Asawa, so inspiring, I had this book for 5 years and never opened it until I gave it to Chatts last year!

I also had the dubious (but so worth it!) distinction of being the only straight brown woman at this event one evening.

Then we went to Annecy for the best animation festival in the world! Best, not the b-igg-est. (When did we as a species forget about valuing quality?)

Some notable mentions – Fixed, the Hungarian showcases, Sylvain Chomet (maestro!) and many more. I also lost my France sketchbook at Lyon airport…

But a definitive moment was meeting Charles Berberian at Lyon BD! Watershed, for sure.

Part 3 coming next. When, I can’t say.

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2025 in my sketchbook, part 1

Only 5 sketchbooks in a year beset by creative blocks and the temptations of consuming over creating. Still, the physical affordances helped tremendously to keep up this essential habit. I wanted to forcefully become more creative this year and started some good rituals in Jan. it was such a challenge maintaining those habits with a fulltime job & the endless commute.

Onwards to Feb, the evolution that I was hoping for was nowhere in sight…but I flew too close to the sun and the inevitable of course happened.

In April I took a workshop at Jaipur Design Week – Poetry, Presence & Practice. The first time I have ever spoken about my drawing in a public forum!

And then on to Kochi.

and my wisdomous brown boy

“What you don’t know should not stop you from, enjoying life”

Indeed.

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Ain’t it funny how we lose one day…

What a month it has been…

art, Life, sketchbook

Ain’t no time to hate, barely time to wait

Make stuff, make poetry, make art. Make, make. It’s going to save you.

…will you come with me, won’t you come with me

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Let’s get started on the soup

Title from Pádraig Ó Tuama, loved before and a solace for migraines

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Saved by drawing on a doomed day

when nothing works.

As always.

If you found the easter egg you might agree with Linda Huang:

His love for Sebald is evident in the way these were conceived and designed as collages. Each of them, especially The Emigrants, is thoughtful, poetic, and a nod to Sebald’s writing—fragmentary and nostalgic—without being overtly melancholic (we don’t want to sell sad covers). They’re so gorgeous I want to buy them all only to rip off the covers and frame them.

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This isn’t a contest

In the old days it was so entertaining to read the comments on posts! Truly that’s something we lost after only 15 years. Here’s an old favourite with 47 comments!