I was devastated when I was fired in mid-June, just before the two-month cap when John Dorman would have to explain to the Union the reason for my termination. John suggested that I apply for work at Hanna-Barbera, and I was immediately able to pick up freelance from Kay Wright. I worked for him for 2 months on “Richie Rich”, “The Dukes of Hazard” and “The Little Rascals”.
I handed in my final board of the season to Kay in early August of ’83. That very weekend, I attended my first San Diego Comic Con. I took my portfolio with me, assuming I’d find work immediately. After all, I was an Art Center graduate and a seasoned professional.
Things didn’t turn out that way. I was met by indifference, rejection or critique by the various editors and professionals I shoved my portfolio in front of. Some of them were quite helpful, once I let go of my pride enough to let their comments in. Mark Evanier and Bruce Patterson especially stand out in my memory.
The fall/winter of ’83 and spring of ’84 was the most harrowing period of my career. I couldn’t find work of any kind. Finally, in January, I got a job as a museum guard at the Norton Simon, in Pasadena. I would surreptiously sketch the patrons and art objects as I stood at my post for 6 hours a day, 4 days a week. At home, I honed my chops, re-worked my portfolio, and fought with my boyfriend.
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