An Interview with Rebecca Clarke, "By the Book" Illustrator

"Sometime I give into distraction, to see where it takes me."

Hi friends.

While I was doing press for my new novel, I recently fulfilled one of my writer bucket list dreams: a “By the Book” interview for the New York Times Book Review. [Here’s a gift link.] It’s honestly one of my favorite sections, and I religiously read them every week. So it was super fun that it finally happened.

Only took ten books, kids

Of course I was immediately occupied with the illustration itself. I loved how she captured the highlights in my hair and the bright pink lip and how I might look good in green sometime—it really did look like me. (And maybe even better than irl if I am being honest here.) I wanted to know more about this magician artist that captured me and so many other writers so beautifully.

Well, her name is Rebecca Clarke, and obviously I immediately tracked her down to ask her some questions, which she generously answered for me this week. While I mainly talk about writing when I write these letters to you, I jumped at the chance to chat with another working artist to see what I could learn from her. I so appreciated her thoughtful responses to these questions.

Seriously, should I wear more green?

A little bit about Rebecca first: Originally from North Carolina, she studied art in France, and the Netherlands for a total of eight years, before living for another eight in New York. Her many, many clients include Apple, The New Yorker, Pitchfork, and The Metropolitan Museum of Art. She lives in Florida.

How long have you been doing the “By the Book” portraits? Do you do a lot of portraits in general? What do you like about doing them?

I started painting the By the Book author portraits in the Summer of 2021. It was such exciting news to be assigned this piece, especially because I have looked up to Jillian Tamaki, who was my predecessor for this column.

I do paint a lot of portraits in general. I have always been interested in people, in psychology, and what makes someone tick. I don’t know most of the people I paint personally but after studying their photo or many photos, I try to crystalize who I see in them into a painting, that I also hope makes the subject feel seen and beautiful.  I love the challenge of trying to show what I see to be the essence of a person in their expression with my brushes and pencils. 

Another thing I love about this series is how it introduces me to authors I didn’t know. I recently went to the Key West Literary Seminar and realized I had drawn a fair number of the participants. 

Our queen, Judy Blume

Can you tell us a little bit about the process you use to create them? I know you mentioned there were a few Photoshop layers. Are you looking at multiple photos and thinking about it as a composite? Are there any particular challenges to this project?

Depending on the person, I will often paint elements of the face separately from the skin tone. My process keeps evolving with portraits. I love the challenge of capturing someone, and depending on how much time I have to experiment, I’ll paint someone once or up to four times in an effort to really get all their features and at the same time keeping my strokes loose, and trying to achieve a level of abstraction. Of the four that I paint, it could be that the mouth on one works with the nose from another, etc. so it can sometimes be a bit of a puzzle until it comes together in Photoshop. Other times, the first time is awesome and I’m happy with it. 

I study multiple photos of each person, and then I usually sketch from one photo and change certain elements, like a person’s hair, shape of their glasses, or clothing. Sometimes I also add a bit more of a smile. My art director at the Times is truly amazing, so encouraging, and helps me to push the envelope of abstraction which I love. Sometimes I can get that loose quality and sometimes my confidence is missing to do so. 

Our beautiful friend, Morgan Parker

Is there anything interesting about illustrating a writer versus any other kind of person? Have you noticed any commonalities or quirks? (Or have you just had to draw a lot of pairs of reading glasses?)

You know, I haven’t noticed a particular thread, besides generally [the writers] looking down to earth or thoughtful. I love the diversity in subjects.

Can you tell me a little bit about your workspace?  Do you work in quiet or noise? Do you work in a well-lit area or in the dark? Do you have clean walls or lots of images up for inspiration?

In the past, when living in Key West and New York, I’ve had a separate studio that I left the house to get to, and there are definite perks to that set up. We just moved to Fort Lauderdale, and currently I have a lovely office space in our Florida room at home. There are mango, soursop, avocado, sapodilla and banana trees outside the windows; most days there are ibises, iguanas, squirrels and ducks with a canal in the background.

I have a sit/stand desk for computer work with my scanner and printer, and I have a kneeling chair at my desk for drawing and painting. I work best when I have the space to myself, exception for the three kitties who live with us. I will often play music, or some other entertainment when I’m doing something that doesn’t involve a lot of thinking.

I don’t really have walls to put things on at the moment, just windows. I’ve found that generally I work best when I can start from a clean slate and make a mess, so I try to keep my desks clean for the most part. I do have lots of lamps so I can work late into the night if necessary. I also have inspiration books on my shelves and folders of images, as well as Pinterest boards.  

I really loved Brandon Taylor’s, I thought he looked really handsome.

When you are having trouble feeling inspired, are there any little tricks you use to get motivated to do your work or is “paying your rent” enough? (Sometimes it is enough for me.) Do you ever battle with distractions?

If I’m ever feeling uninspired, it usually means I’m tired, so I’ll take a nap, or call a friend or do something else. If I have a tight deadline and no time for a nap, I’ll listen to an audiobook or watch something while I work to get through the fatigue. I try not to make a habit of this because I’m not my most present. I am super grateful that I can support myself with illustration and I try never to take it for granted. 

When I get burned out—and it does happen—I try to take time off, for myself and plan how I can pivot, either in small or big ways. And yes, I battle with distractions constantly. I journal every morning and try to list out a few key things that need to get done in a day, and sometime I give into distraction, to see where it takes me.

Recently I decided I’d like to shift the balance of working for clients versus working for myself. I would love to paint freely and try new things, make prints, collaborate with people making awesome products or projects like books or surface design. I want to know what else I’m capable of! I also love working on the “By the Book” series so I’m not planning to stop anytime soon.

Also was charmed by this one of our old pal Pat DeWitt

Hot tip: I noticed that Rebecca has some lovely prints for sale that would probably light up a room.

I have a few final thoughts on this interview: