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I submitted my illustration for SCBWI's Tomie dePaola, with only 10 minutes to spare. I'm incredibly grateful the drop-dead time was in Pacific Time. I chose to illustrate the famous white washing scene. As you see above, the illustration was intended to be in black and white, but I found I could control the contrast better working in full color and then just "gray-scaling" the finished illustration. Also please ignore any and all "wonky" looking colors. Again, I was pushing for contrast. Fingers are crossed!

Left: Frida Kahlo's "Girl with Death Mask", 1938; right: Samantha Grenier's "Death with Girl Mask", 2005. I was just reading another blog post featuring the art of Stephen Mackey, and it triggered a little nostalgia. I don't know if it was in the lighting of his paintings, or maybe the tone, or my (slightly) morbid appeal, but something brought me back to a Halloween assignment from my graduate studies. My painting was not well received at the time. I think the assignment was something along the lines of making a Halloween or depict a horror scene. Trying to be clever, I created a nod to Frida Kahlo's painting " Niña con Mascara de Muerte". Since this was for an illustration class, something a little more "illustration-y" was probably expected. Probably. I didn't get it at the time, but sometimes it's difficult to separate the "artist" from the "illustrator".  I was always proud of my little

I've updated my website ! I've changed the overall look of the site and swapped out a few pieces. In other news, I am planning to attend the SCBWI's Winter Conference again... you know if I can sign up. Just remember that 10am PDT = 1pm EST! I will be all over registration on Friday! Hope to meet some of you there! :-)

Participating in the Doedemee charity book cover project brought me back to my old book re-covering exercise from several years back. I've decided to pick the project back up again, and I've just begun taking my old sketches, and turning them into full-scaled finished pieces. By "full-scaled" I mean 12" x 18" posters. Other than the Scarlet Letter , you'll see my most recent conquest ( Moby Dick ,) which was one of the original classics from my old exercise. Hopefully to follow: The Great Gatsby , One Flew Over the Cuckoo's Nest , and Lolita. My "Recovering Project" is helping me ease back into my cut-paper methods. Moby Dick here is comprised of torn paper and digital media.

Been working here and there on a book (re-covered) project for the DoeDeMee cover project for illiteracy . Below are some of my sketches rendered as I read through my book choice, The Scarlet Letter . As of a few nights ago, I had my poster looking like so: ... But something was missing. I picked this novel for the sake of the story's message on identity. Upon looking at other covers throughout time, there were a couple recurrent themes: Hester & Child (Pearl) and the big red "A". These characters actually become what the "A" symbolizes and I wanted convey with the cover. I think I did this rather successfully transforming these two characters into an "A".  However, there's another character that's typically ignored for cover art, and I really wanted him to have at least a subliminal presence, because without him, there would be no Pearl and thusly no evidence for the need of that adulteress mark: Reverend Dimmsdale. He too