Original cover of the complete second cycle (1936-1939). Signed. Acrylic inks and watercolour on paper
34.5 × 37.5 cm (13.58 × 14.76 in.)
Another portrait of Amélie with her frank, blue eyes, both dreamy and determined. The drawing is sketchy but also very precise. This play of sharpness and blur is part of the exercise of watercolour painting. I'm not one of those people who focus on the foreground and leave behind masses of colour," says Gibrat. The characters have to be described enough for them to exist. In the cinema, you have a huge screen where you can afford depth and space; in comics, a drawing, even half a page long, remains in book format. This pushes me to be precise in the settings and characters in order to give credit and breath to the drawing. »
"It doesn't take much to mess up a drawing, even if you apply yourself, sometimes it's because you apply yourself too much anyway, it quickly becomes disappointing... especially for the female faces. To be more or less happy with yourself, you need to gather a lot of ingredients, and above all a little bit of luck, no need to ask for it, it chooses you... she comes to see me once in a while, I wonder if it wasn't that day" J-P G.