I'm still waiting for my version of this story, I don't have enough familiarity with my tools (they keep changing). But I'm hoping for it, at some point. Read the whole interview, but here's the stuff that I found most stirring:
Chris Georgenes, Master Flash Animator:
One afternoon in the print shop, I had a leftover piece of copper plate that I was about to discard. It was small, about 3"x 7", and tiny compared to what I was used to. Instead of tossing it, I quickly drew a rough study of a figure of a woman. I spent no more than ten minutes on the drawing before throwing it in the acid bath so it could be etched, inked, and ultimately printed. It was a simple drawing, loose in line style, and very much the opposite of the hyper-realistic style I was striving for during that time in my career. I liked it for what it was, but didn't think it was a very impressive piece. I contemplated tossing the print and the copper plate in the trash and going back to my much larger pieces, but something told me to hang on to it, at least for a little while.
...A few days after my show, my illustration professor, who was unable to make the opening, went with me to view my body of work...After he looked at the last drawing, which happened to be the small etching of the woman in the corner next to the light switch, he turned and looked at me and asked, "Want to know what I think is the best thing you have ever done?"
I thought he was going to tell me it was any one of the larger pieces. To my surprise he turned and pointed to the small etching next to the light switch! He went on to explain that its simplicity and essential quality provoked an emotion within him and compared it to Rembrandt or Da Vinci. He told me it was a milestone not only in my career, but in any artist's career to draw like that. It was subtle, and that subtlety made more of an impact than in-your-face hyper-realism. That moment changed my whole outlook on art and in some ways, life in general. --from Flash as a Big Ball of Clay