When I first saw 'Inside 100 Great Cars' my first impression ..I was actually a bit disgusted... was that a lot of artwork had been commissioned to fill in some gaps. Now, publishing being what it is, there is very little money for illustrations, so I think a call was put out for a bunch of cutaways done as quickly and cheaply as possible. If you pay peanuts and set tight deadlines you get what you deserve - inacuracies and omissions. An illustrator working to these constraints is hardly going to spend time on research, he's going to blag or copy, and copying leads to compounded errors. These were then used to bulk up the illustrations , I totally agree - like mine and Jim's - that already existed, and were not produced under the same regime. The publishers knew that by far the majority of purchasers would be sufficiently uncritical to notice any variation in quality. I was sent a complimentary copy, but it was only a few months before the book was remaindered, huge piles of them appeared in a local book shop marked down to £3.00! Imagine I got both of mine for 0.99 each !, the second copy is the take apart one !!
It's an odd business, if I had had to rely on publishers for work I would have had to chuck it in very early - I don't think I would have been able to make a living, and yet illustrators of a different discipline seem to prosper, Quentin Blake (Roald Dahl books, and others) seems to have been a multi-millionaire for decades. C'est la vie, as we rarely say in Hitchin.
As a long time admirer of your work Tony, I was a bit hesitant of responding too fast, a bit afeared to react too strongly.
I feel my choice of words has to be just....correct,because in a way I am probably more p'eed off than you are.
You must at times have had the thought and wondered why the hell you went to the length of obtaining the perfection of detail you wanted from your work.
I think some of your work detail is ridiculous when you consider the crap way some publishers treated it, and as you say insufficient audience knowledge
to appreciate it. This goes for many other of your contemporaries as well.
You sweat your guts out to get accelerator linkages and cabling down pat and the bloody drawing is printed on crap paper at a ridiculous size
and with improper clarity, in a crap magazine which doesn't even print four colour properly.
I hope that at least you know you have found some admirers here who truly appreciate the artist who signs Tony Matthews ( even if it is your handwriting....
I wouldn't wan't it any other way! )