One task I had deliberately left until the end was selecting images to use for the chapter headers. Most of the pages in the book have 6 - 8 sketches per spread, but at the start of each chapter, I can have one sketch taking up a whole spread.
I'd created a shortlist and emailed it down in advance. It was tricky, because only landscape or square format sketches would work across the double-page spread, but an awful lot of my sketches are portrait format. Moira, my designer, printed my various suggestions out on mock layouts, to see how different possibilities might look:
It was a difficult decision, but easier with other people's input. In the end, none of the ones in the photo above made the grade. You'll have to wait and see what I chose!
There was also another photography job to get sorted. One early section of the book looks at which art materials are most suitable for location-sketching and give tips for travelling light. So, I took all my gear with me and Phil took photos of every single item in my sketching kit. I love this picture of my grubby paint palette:
It feels good to have such a monster project wrestled into submission.