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This cloth-covered deluxe edition features full-color printed endpapers and a foil-stamped title on the spine, and comes complete with a full-color slipcase with matte lamination and foil-stamping. Best of all, the removable, suitable-for-framing book jacket is emblazoned with exclusive, original artwork (that's different than the regular edition) by illustrator Mary GrandPré--a one-of-a-kind keepsake that you won't find anywhere else. 
Award-winning artist, conceptual illustrator, animated film scenery developer, ad designer, and, oh yes, illustrator for a worldwide children's book phenomenon, Mary GrandPré somehow manages to juggle all her hats quite well, to mix a metaphor. It seems appropriate to mix metaphors when you're talking about someone who has mixed her media--and her genres--so gracefully ever since she was a child.
As a 5-year-old, GrandPré began drawing. Five or six years later she was experimenting with Salvador Dali-style oil painting. Next she moved on to copying black-and-white photos out of the encyclopedia. Later still she decided to go to art school (Minneapolis College of Art and Design), where she learned that being an artist and being an illustrator were not mutually exclusive.
A couple of decades later, after working in corporate advertising, film (GrandPré created the environment and scenery art for the animated film Antz), and book publishing, this multitalented artist received a call asking if she might like to work on a book cover and some black-and-white illustrations for a book about a young wizard named Harry Potter. The rest--dare we say it?--is history. 
You've read Harry Potter and the Order of the Phoenix--what do you think?
When I illustrate a cover or a book, I draw upon what the author tells me; that's how I see my responsibility as an illustrator. J.K. Rowling is very descriptive in her writing--she gives an illustrator a lot to work with. Each story is packed full of rich visual descriptions of the atmosphere, the mood, the setting, and all the different creatures and people. She makes it easy for me. The images just develop as I sketch and retrace until it feels right and matches her vision.
It's exciting. I kind of feel like his mom--or maybe his step-mom. J.K. Rowling is his mom. But I feel like it's a tricky thing to create a character and then age him. You have to take careful note of how that happens because any little tiny difference in a face can make the whole person look very different. Over the years Harry has become pretty solid in my mind. I just do a lot of experimenting on the drawing board, playing with how I would technically change this or that part of his face. What's really exciting is how Harry's personality changes from book to book, his level of confidence, things you see in normal kids. It's really fun to bring that into the drawings. 
I'd say Maurice Sendak is one of them. As a kid I was really, really inspired by early Walt Disney. That sense of magic is something I want to bring into my work in my own way. It's hard to say who's my favorite--it changes. It's more about favorite pieces of art. I do like a variety of artwork. I don't feel fresh doing the same thing over and over, so I like to view a lot of art and be inspired by it according to subject or story, more so than just by illustrators or authors.
It was pretty cool. I thought they were really good. It was so much fun to see the magic on the screen. Once in a while I would catch a glimpse of something that might have been inspired by something they saw in one of the books that I had drawn and that was great. I don't know if it was in there or not, but I'd like to think so! 
Yes, I would just say keep working hard and don't give up. Illustration, like any form of art, is up for criticism, but it has to come from the heart or it's not good. If you're not enjoying what you're doing, keep trying new things because your best work will come from work you enjoy. Constantly try to listen to your inner voice about who you are as an artist and what you do and what you know. I don't know about magic but I know that I'm moved by it--I have been since I was a little kid--and it tends to come into my work even when I'm not illustrating things of magic. Just continue to try and be relaxed and natural about how you draw. Try to bring yourself out in your work.
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