The tranquility of "conscious slumber" is what I aimed for in this illustration, with nature moving in slow motion among the creeping tendrils of fog. The swans are my own addition - to emphasize

I've never read more evocative lines, and I'm pleased with the fidelity I brought to the condensing, dripping moon vapor of Poe's imagination. These illustrations typically run to 25 Photoshop layers and

For my second set of illustrations I've chosen "The Sleeper" which, like Poe himself, I prefer to "The Raven." Over familiarity may have something to do with it: As a child I memorized

Hard to believe but I read the poem on this page 10 times and missed that I'd spelled "dissevered" wrong - didn't notice till I went to post just now. It's easily corrected, just finicky: I make

Since the poem doubles back to the killing wind, I did too - Annabel Lee goes wandering or sleepwalking and ends up on the rocky seashore, rose petals of blood red surrounding her now lifeless body. Northern

The trees in this illustration are perfection, providing a barren and slightly menacing frame for the departing horse-drawn carriage bearing away his beloved. I decided to go with no drama for the concept:

"Annabel Lee" was published posthumously, Poe's last completed poem, and it feels like the work of a young and vigorous man, not someone as hard pressed as he. For the infamous wind I've put

I pictured a 4- to 5-year age difference between Annabel Lee and her beloved, with him as an angsty teenager, already plugged into the life of the court and capable of the fierce devotion (albeit slightly

I decided to make Annabel young ("I was a child and she was a child"); I've seen illustrations where she looks 25, but I'm trying to adhere to Poe's own words insofar as possible. That makes

How would you illustrate Edgar Allan Poe? If you are at all familiar with his work, doubtless some images popped up in your mind instantly: ravens, crypts and maidens. But that's the subject matter - i.e.,