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I do love sparse cartooning.
Cartooning is an honorable thing.
For some reason, not many women go into cartooning.
I actually find a lot of parallels in jazz and cartooning.
Certainly in cartooning I'm given huge free rein at the moment.
I was doing illustration work, and the cartooning slowly took over.
But to me what seems to be missing in a lot of portfolios is Cartooning.
I'm skeptical of the 'go local' approach to cartooning to preserve your job.
I was writing and cartooning and writing short stories from grade school on.
Cartooning is about deconstruction: you gotta tear something down to make a joke.
There was a teacher who recognized that I was interested in cartooning and he was great.
Cartooning was a good fit for me. And yet now, years later, I almost never think about it.
I hope to actually get back to painting someday... soon. I sort of transitioned into cartooning from painting.
So cartooning, for me, is an honorable thing. It's pushing the envelope. It's the truth of something through exaggeration.
Cartooning is for people who can't quite draw and can't quite write. You combine the two half-talents and come up with a career.
I'm really interested in making a mark on a paper and letting that be cursive shorthand for an idea - that's the origin of cartooning.
Cartooning at its best is a fine art. I'm a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.
People go into cartooning because they're shy and they're angry. That's when you're sitting in the back of a classroom drawing the teacher.
In many ways, cartooning is my therapy. I've always said they're like my diaries. It's thoughts and feelings and things I've seen on any particular day.
But now that I'm cartooning full-time, I'm more of an observer. I'm talking to people who are experiencing these things. But it's not like being in the trenches.
The journalism school helped me develop writing skills, and I had been enjoying cartooning from a very young age. My interest in puppetry, however, came much later.
Cartooning, quietly and discreetly, drew me into the circle of politics and I continue to enjoy both. They both inspire me and I could never given up one for the other.
I do think that many Americans have a limited view of what constitutes Japanese cartooning based on what gets translated, so it's great to see an increase in diversity.
Cartooning is a wonderful career, and I'd like more women to get to have it. I can't think of any reason why we won't see more syndicated female cartoonists in the future.
Politics remained archaically unchanged in 1999. America was economically strong but morally complacent. It was a year of evil in many ways - another great year for cartooning.
There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
You know, comics were created at the same time as the cinema. And the cinema very quickly became a major art. Cartooning didn't become a major art. There's a reason for that. People don't know how to deal with drawings.
In middle school, I started to draw, and my pencil sketches were huge. They were these 4ft by 3ft drawings, and I got a lot of attention for that, so that was very validating. But I didn't start cartooning until I was in college.
There are lots of theories that the simpler a comic character is drawn the more relatable they become. People can imprint themselves onto the gaps in the picture. The skill of cartooning is often working out how much can be stripped away.
I've always defined myself not as a cartoonist, but as an entrepreneur. That was true before I tried cartooning. I always imagined cartooning would be how I got my seed capital. I always thought my other businesses would be the less dominant part of my life.
My future plans are hazy, and I've yet to experience how much cartooning is in my blood and therefore how much I'll miss it. But I have some other interests, especially in music, and I will probably take the opportunity to delve into those things more deeply.
If I'm writing about a modern-day suburb, there's going to be details of the home and furniture, and if I'm writing about a historical period, those details, those pieces of the world are going to be there as well, but they'll be simplified, because I'm cartooning it.
I think funny is just the foundation. I don't really think, to some extent, funny is the absolute most important thing. It should also communicate some idea through the medium of cartooning. Just to be funny is... You know what, the things that you laugh hardest at aren't cartoons.
The type of cartooning that I think is generally referred to as 'alternative' or 'underground' is usually - the distinction is usually in terms of whether it's made by one person, the entire thing is done by one hand or more of a production line process, which is how the comics that we grew up reading were made.
I did freelance cartooning off and on from college graduation in 1991 through ABC News hiring me in 2003. I did a weekly comic strip for 'Roll Call' for about nine years. I sold cartoons and caricatures to 'The Los Angeles Times' and 'The Washington Post.' I drew as much as I could. It's really tough to make a living doing it.