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A portfolio of her art appeared in Below the Surface #7 in May 1993.
Artist's Statement: 1982From the artist in 1982:
I started [doing Trek art work] about two years ago when I did a couple of drawings for a friend who had lent me some zines. I'd much rather read a good story than draw, but then that's just my naturally idle nature.
Drawing helps fill in, the boring bits between zines arriving.
Most well written stories don't need artwork, but good presentation and a few careful illos do help create an overall effect. Trying to match drawing style to the writer's intention is often the best part of the whole process.
My method of working varies with the editor concerned, I either receive a whole story (which is lovely) or a list of suggested scenes. On reading a story the scenes needing illustration are usually obvious but there are quite a few limitations. High on the list is the method of reproduction. Stencil cut zines mean black ink, or half the fine detail is lost. Photocopying allows slightly more freedom. There are also lots of things I don't do very well (e.g. McCoy, Sigh...) so I must avoid the type of scene where a piece of inadequate artwork could hurt the story. Anything of a highly emotional or imaginative nature is usually best left to the reader's imagination anyway.When I have decided on the drawing needed, I gather a few useful pictures around me (aren't photonovels wonderful?) and make a start in pencil. Then I give up and start again, and again. Likeness is a problem. So is expression. Is it, for example, noble suffering on our hero's face? Or is he about to sneeze? Action scenes are not easy. Are they fighting? Dancing? Or doing what you have to be over eighteen to read about? Once I am vaguely satisfied with the pencil sketch, I either work on it with different grades of pencil or a fine mapping pen. When it is finished, I spend several days dithering and fiddling with it. Then I armour plate an envelope, put all the illos in a plastic bag inside it and challenge the Post Offal to do its worst. 
Front cover of Enterprise Log Entries #45 (1981).
Front cover of Enterprise Log Entries #47 (1982).
Interior art from Enterprise Log Entries #47 (1982).
Front cover of The Female of the Species is More Deadly Than the Male (1982).
Interior art from Computer Playback #6 (1982).
Interior art from Enterprise Log Entries #50 (1982).
Front cover of Enterprise Log Entries #51 (1982).
Front cover of Enterprise Log Entries #54 (1983).
Front cover of Enterprise Log Entries #62 (1984).
Front cover of The Mark of Cain (1984).
Front cover of Enterprise Log Entries #66 (1985).
Front cover of Enterprise Log Entries #68 (1985).
Front cover of In the Wilderness #2 (1989).
Interior art from Below the Surface #6 (1993). For "The Second Chance Cruise".
Interior art from Below the Surface #6 (1993). For "C.P.U."
- from Communicator #6