Nobody could be a professional cartoonist, because you have to do something you don't like to do in order to be a responsible adult and pay the rent.
If you're a painter, it's simply taken for granted that you'll spend a lot of time in museums studying great paintings, but if you're a cartoonist, it used to be very hard to see an original cartoon drawing.
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.
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.
I don't really know what makes someone want to be a cartoonist, but part of it is trying to get in trouble. You're looking where the line is and seeing how much you can step over it, and I mean, I do that in my personal life, too. I try to anger and piss people off a little bit to try to see what I can get away with. I got in trouble with more than one cartoon.
There's all kinds of theories among the cartoonists: start with funniest, end with funniest.
A cartoonist is someone who has to draw the same thing day after day without repeating himself.
I separate cartooning, which is fun and wacky and soulful, from illustration, which is very well-drawn and extremely uptight to look at. There's a difference. I'm a cartoonist.
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.
Being a naive 20-something I didn't think that I could just go to the screen cartoonist's union, that I was a member of, and scream bloody murder and they would have jumped all over this guy and said, "Oh, but yes he does get screen credit."
I never graduated, but I was kind of floating between journalism and art, because neither one wanted to claim me, as a cartoonist.
As a fan, I'm distraught, but as a cartoonist looking at new vacant spaces in 2400 newspapers, well, behind me, my cats are dancing a conga line.
I think it's vital to be honest with yourself. You do have to satisfy yourself first. If you're drawing something, you have to ask yourself if it's something you genuinely think is funny. Or is it starting to fall into just a category, just kind of a shtick thing? I think it's important for all cartoonists to be honest with themselves about their own sense of humor and what they're doing.
Perspective was always important. There are some cartoonists who can stand at the foot of a building looking straight up and they'll capture it perfectly. And then there are those of us who do the same drawing and it's the goofiest-looking thing in the world. But after a while I guess you just learn what you're capable of and what you can and can't do.
Luckily, my limited attention span is well suited to the velocity of the news cycles. There's an assault of stories coming at you on even a slow-ish news day, but certain things just tend to stick out. Certain stories just seem to have an odd sort of electricity. It does get tricky when you're pitching an image that won't hit the newsstands for another week. Not only can other, bigger stories break in the mean time, but other daily cartoonists, can also come up with the same idea - this is the most depressing thing - and put it out there so yours looks old by the time it's published.
When I had independence, it was a constant battle within me to figure out when am I on my own. And also the insecurity that my life engendered, especially as a freelance cartoonist, kept me in a constant state of anxiety as to whether I am going to be able to meet my financial obligations.
Almost every cartoonist, when he's sitting down to draw a funny face, if you watch him closely, his mouth is gonna curl to the expression that he's drawing. But when I would write a story - I know it's going to sound almost ridiculous and infantile - I would, in a way, start living it.
I think there was a point in the past when I felt that my options as an artist were either to make race a nonissue and deny its impact on life and just say, "Don't think of me as an Asian cartoonist. Just think of me as a cartoonist."
I'm just a little old cartoonist, tryin' to make a buck.
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.
For a young cartoonist, they have to get going on the web, because that's where everybody goes for their information. And it really works. If you look at a cartoon on a computer screen, it really jumps and can be quite effective. I draw cartoons now, not how it will appear in the newspaper, but how it will appear on the screen. I think most of us do. Now the challenge is to make it move and animate it in a very fast, quick way.
Cartoons were very conservative. The country was very conservative. Although the liberals were allegedly in charge for a long time, there was a very acceptable balance what people would talk about in public. And I wanted to stretch those and move further out. And as the civil rights movement began, I started doing cartoons on that and on sit-ins and I was, along with Bill Mauldin, a great cartoonist out of World War II, arguably one of two white cartoonists doing this kind of work, Bill and me.
I'm not electronically geared at all; I'm really a 19th century cartoonist. I have a 15-year-old daughter, and what she's attracted to is of course iPod and this pod and that, I mean stuff I don't even begin to know - I never learned how to type for Christ's sake! I can't get in her head and find out what she would do if she had the kind of talent I had, I don't have a clue. Every generation comes up with its own quirkiness and its own culture which gets its inspiration from what's in the air at that time.
I think most cartoonists are solitary, lonely kids who use their work as a way to try to connect with the world. If I had any other skills that were more performative - if I could have been a musician or an actor - I'm sure I would have pursued that instead in order to get that instant feedback and to hear applause.
I started out wanting to be a straight adventure cartoonist, but in 1979 realized what my real bag was.
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