Quotes of All Topics . Occasions . Authors
It's a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.
I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.
Bashar al-Assad's henchmen stomped on the hands of famed Syrian cartoonist Ali Farzat. Our dictators tailor wounds to suit their victims' occupations.
I've been doing the 'Sherman's Lagoon' strip for about 18 years, and I was a political cartoonist before that for my hometown paper in Alexandria, Va.
The best thing about being a cartoonist is to walk into a bar or someone's apartment and they don't know you, but they've taped one of your pieces up.
I think it's best to know about lots of different things besides comics. I don't think you can become a cartoonist if you look at nothing but cartoons.
I see the cartoonist as contributing to the content, being critical, because we do poke holes in some of the dialogue and find new ways of seeing things.
'The Green Turtle' was created in the 1940s by a cartoonist named Chu Hing, one of the first Asian Americans to work in the American comic book industry.
I tend to write my beginnings and endings first - as a cartoonist and storyteller, I couldn't sit down every day if I didn't know where the story was headed.
When people ask me what is an editorial cartoonist, I often say we're kind of a hybrid. We're a cross between Edward R. Morrow, Ted Koppel and the Son of Sam.
I don't think of myself as an illustrator. I think of myself as a cartoonist. I write the story with pictures - I don't illustrate the story with the pictures.
You can draw Family Guy when you're 10 years old. You don't have to get any better than that to become a professional cartoonist. The standards are extremely low.
Obviously there's not much options when you're a cartoonist - you pretty much either work at home or rent an office I guess, and working at home just seems easier.
I stay out of politics because if I begin thinking too much about politics, I'll probably... drop writing children's books and become a political cartoonist again.
I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
The comedians I liked were Bill Cosby and Steven Wright, like just always as a comedic actor. I always liked Gary Larson, who's really funny for a cartoonist, obviously.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
I really wanted to be a newspaper cartoonist, but nobody liked my work. I didn't have the control or flair that was necessary to create something that didn't look childish.
What I regret most after becoming a cartoonist is having used my real name. At first, I figured there was no way I'd sell anyhow, so I didn't even consider using a pen name.
My transition from wanting to be a cartoonist to wanting to be a writer may have come about through that friendly opposition, that even-handed pairing, of pictures and words.
One of the perks of being a 'New Yorker' cartoonist is that you get to hang around with interesting people. My fellow cartoonists are all interesting, and all highly creative.
If a good cartoonist can make a living making his comics, he'll continue to do that; the lesser insincere cartoonist that gets a lot of press will fall by the wayside eventually.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
In many ways, my entire graphic novel career was a long diversion. Originally, all I wanted to do was to be an underground cartoonist and maybe bring out a groovy underground mag.
I have the standard cartoonist setup, which is one of those Cintiq tablets, and a laptop. If I'm mostly writing code, I'm on the laptop, and if I'm mostly drawing, I'm on the Cintiq.
The problem when you're a cartoonist and you go into the voting booth is that you have your choice of two guys - one would be best for your country, and one would be best for your business.
For me personally, I get to be a cartoonist, because my comic would never survive in print. Maybe one in 100 people would like it, but online, I can gather that one percent all in one place.
I knew I wanted to be some kind of artist from about 12. I met a neighbour who drew cartoons, and I had an idea I wanted to be a cartoonist - or something that involved Indian ink, at any rate.
I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.
I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.
I've certainly seen a lot of my cartoonist friends embrace 'Little Lulu' in a much deeper way because their kids love it so much. But that's not gonna be happening for me. There are no kids coming.
You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.
I never saw myself so much as an actor. I wanted to be a cartoonist like Charles M. Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
In pre-school, I was drawing dinosaurs - I was huge into dinosaurs. I wanted to be a paleontologist, not a cartoonist or a filmmaker or anything like that - just a paleontologist. So I would draw dinosaurs.
My wife has joked that if anything ever happened to me, she'd gladly live out her life without anyone else around. I think it bugs her I'm home all the time; such is the life cycle of the cartoonist, however.
When I first seriously decided to become a cartoonist would have been '99/2000, right before 9/11. I've been writing and illustrating stories in the world post-9/11 since then, watching the world change around me.
I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.
I guess that if I was a normal cartoonist who did things properly, I'd think up the background information first and then come up with the story. Saying that, you'd think that I don't really think through anything.
I really wanted to be a cartoonist, and I was in 4th or 5th grade and I would bring my drawings in, and I'd look around, and everyone could draw better than me. Everyone. My drawings were just awful. So that's why I had to write.
I've always drawn, for example, and I did consider when I was younger, it was either do I become an actor or do I become an animator cartoonist at that point. Do I work at Disneyworld or something and do animated cells or something?
James Thurber was an inspiration because his drawings were so primitive. I am self-taught - I didn't go to art school - so I thought when I started doing them, 'If James Thurber can be a cartoonist, I can,' because his stuff is very raw.
I hate this word 'graphic novel.' It is a term publishing houses have created for the bourgeois so they wouldn't be ashamed of buying comics... I'm not a graphic novelist. I am a cartoonist and I make comics and I am very happy about it.
It's a secret, but when I decided to apply to 'Shonen Magazine,' it was already past the deadline, so I had no choice but to go with 'Shonen Jump.' My motivation for becoming a cartoonist was... to put it bluntly, the ¥100,000 prize money.
I don't think there's any independent cartoonist whose stuff I don't like or respect in at least some way or another. We're all marginal laborers - we're practically medical oddities - so I don't see why we can't all be nice to each other.
Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it's all the same form. We use different tools, but we get the job done. I'm completely in love with CGI. It's great for conveying a cartoonist's sense of reality.
It was actually an Israeli cartoonist, Nurit Karlin, who made me think that I could draw for 'The New Yorker.' I saw her work published in the magazine in the early 1970s - she was the only woman working as a cartoonist at 'The New Yorker' at the time.
My mum was into pottery and embroidery, very artistic, and she knew some people from the college, which I think was how I got into it. My dad, who was a head-hunter, was also an incredible artist, and when he was very young, he was a really good cartoonist.
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.
There are two ways to look at my publishing career. One is that I'm a novelist churning out books, who is eight into a series; the other way is that I'm a cartoonist, just starting out. Most cartoonists have long careers: Charles Schulz drew Peanuts for 50 years.
You can't just count on becoming a syndicated cartoonist. I actually tried to calculate the odds once, and the best I could come up with is a 1-in-36,000 chance. And the odds of getting hit by lightning are 1 in 7,900 - which kind of shows how long those odds are.