I’m an artist and a cartoonist. Sometimes my work takes the form of a single-panel cartoon (actually a lot of times, since I’ve published over 2,000 of them). Other times I work from nature, or from the inside of my skull. But I always have a pencil, an eraser, or a stylus fired up. I’m proud of having a cartoon that travels with the Smithsonian Astrophysics Observatory’s exhibit on black holes, my millions of shares for no money whatsoever of cartoons on social media (hey people, fix that – you know you can), and the fact that I’ve inadvertently designed at least one tattoo. If you look really close, one of my cartoons (a gag about predicting earthquakes) is on the cabinet in Paul Giamatti’s office in the movie San Andreas.
I began professional creative work in the early 1990s after completing my dual bachelors in Studio Art and Communication at Stanford, publishing cartoons while careening through a career that spans film production, software, design, information architecture, and video games. Along the way I’ve gotten to hang out with spectacular and extra smart people and build things that ranged from experimental to untested and back again. I developed an interactive knowledgebase and repository for implementing enterprise software before the tools to do that existed. I helped Xerox redesign their online presence when dynamic pages were just coming into use (my product search design for them is in Jakob Nielsen’s 2000 book, Designing Web Usability). I led design for Electronic Arts’ earliest online gaming platforms, when there was no common architecture amongst their RPGs, Sports, or casual gaming titles. Along the way I published cartoons with King Features’ The New Breed, The Funny Times (where I still regularly appear), Utne, Oxford and Cambridge University Press, GoComics, Thompson Learning, Body + Soul magazine, Z Magazine, and countless other publications and refrigerator doors.
In 2001 I had my first of two kids, and embarked on writing three science fiction/fantasy novels: Silverwood, Silver Shard, and Silverwood: Origin. The cartooning and art making continued, and I expanded my subject matter and methods and took on more illustration and character oriented work. I developed an illustrated serial story titled Neptune Road, about reject humans inhabiting a terraformed Neptune that spanned 200 episodes and several spinoff stories. I was a volunteer illustrator at 826 Valencia in San Francisco for five years (I now continue that work at Chapter 510 in Oakland). I became president of a nonprofit community theater, and helped it navigate back from insolvency to the vibrant gathering place filled with music and stories that it is today. After that experience I joined the board of directors at California Shakespeare Company where I continue that work and advocacy with Eric Ting and the wonderful team there.
Today I’m at work on an illustrated history of the bicycle in partnership with Grant Petersen of Rivendell fame, as well as developing album cover art and spot illustrations for cool people like Sammy Warm Hands (Figures of Speech) and Karen Wickre (Taking The Work Out Of Networking). I continue to blurt out single panel cartoons and helpful hand drawn diagrams about the issues of the day, of which there are many, and will not stop doing this. I am also working more and more from nature, while we still have it.
I’m a proud native of the San Francisco East Bay. I grew up with Ray Guy and Ken Stabler and Dave Stewart and Hendu and the Stompers and the original Earthquakes and played in the first girls’ soccer league in my town (in which we had to name the teams after flowers). I live in the East Bay now with my brainiac patent attorney husband, actor and powerlifter daughter, multi-instrumentalist philosopher son, two peculiar and opinionated cats, and Ashley, a mellow but very hungry tarantula. I’d love to see humans be at the center of our global value system at some point.