The comic page is dying; I didn’t want to go with it.
I happen to think nearly everybody – especially those one might find in the odd issue of ‘People’ magazine, including me – is frightfully boring, Especially me. And Tom Cruise. Tom and I are alike in only this way.
Keep in mind that in 1985, I had a potential readership of over 50 million Americans. At that time, a good portion of those were under 30.
My post-child period resulted in one instant change: I write shorter books for kids.
Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.
I started as a news photographer at the University Of Texas’ Daily Texan.
It was a huge challenge to learn digital painting well enough so that computers don’t pop into mind when one sees one.
If nothing is serious anymore, then there’s nothing to satirize.
I paint digitally now. A pity, in some ways, as the biggest price one pays is that you no longer have a finished piece of physical art to hang on a wall. I miss that terribly.
Negative humor is forgotten immediately. It’s the stuff that makes us feel better about our lives that lives long. Much more satisfying. Enter children’s books.
I will go to my grave in a state of abject endless fascination that we all have the capacity to become emotionally involved with a personality that doesn’t exist.
‘Harry Potter’ shouldn’t be children’s first experience with suspense and plot turns.
Such is the nature of comic strips. Once established, their half-life is usually more than nuclear waste. Typically, the end result is lazy, rich cartoonists.
That’s the conundrum of cartoon stripping, as opposed to political cartoons. When your anger is the driving force of your drawing hand, failure follows. The anger is OK, but it has to serve the interests of the heart, frankly.
And that’s why any of my picture books exist: They all seem to be built backwards from a simple, emotionally optimistic story beat.