“ink marks the page/where you execute your will like a doe announcing an/ox-stern mate with a single, bleary blink.”

“I do not write to you, but of you,/because the paper that we write on/is our perishable skin.”

“I've seen you up close, like this. I remember your eyes. They're the color of the sea -- just inside a coral reef and your freckles are like the stones of a volcanic island scattered along the sand. Your hair is like the sun setting over the water, shooting out orange rays in all directions”

“I didn't say try to fail. Try and risk failing. That's how people learn.”

“And just like that, I was officially In Deep:1. Interested in art. (Me, charcoal; him, colored ink).2. Not afraid of love. He's stuck with Cruella de Vil for a long time.3. Or of telling the truth. "Three things it costs a little to tell."4. Hot. Like, smokin'.5. Daring. Sharks. Ocean. He swims where Here Be Monsters.5, subsection a. Daring enough to take a chance on me.Oh,that one,always the glitch in If My Prince Does,In Fact, Come Someday, It Would Be Great If He Could Meet These Five Criteria. But I had one thing when it came to Alex that I'd never had with Edward. Hope. Well, that and a drunk e-mail.”

“Nonna is convinced that the ink from tattoos gets way inside and,like the mercury in tinned tuna, causes brain damage.She doesn't know that Leo has a lip print tattooed on his left butt cheek. Now,maybe Leo's not the best argument against ink as brain damager, but heaven help him when someone lets that secret out to Nonna.”

“I like to work in watercolor, with as little under-drawing as I can get away with. I like the unpredictability of a medium which is affected as much by humidity, gravity, the way that heavier particles in the wash settle into the undulations of the paper surface, as by whatever I wish to do with it. In other mediums you have more control, you are responsible for every mark on the page — but with watercolor you are in a dialogue with the paint, it responds to you and you respond to it in turn. Printmaking is also like this, it has an unpredictable element. This encourages an intuitive response, a spontaneity which allows magic to happen on the page. When I begin an illustration, I usually work up from small sketches — which indicate in a simple way something of the atmosphere or dynamics of an illustration; then I do drawings on a larger scale supported by studies from models — usually friends — if figures play a large part in the picture. When I've reached a stage where the drawing looks good enough I'll transfer it to watercolor paper, but I like to leave as much unresolved as possible before starting to put on washes. This allows for an interaction with the medium itself, a dialogue between me and the paint. Otherwise it is too much like painting by number, or a one-sided conversation.”