Quotes of All Topics . Occasions . Authors
Old cartoonists never retire, they just erase away.
All cartoonists are geniuses, but Arnold Roth is especially so.
Carl Barks and Don Rosa are two of my favorite cartoonists ever.
Cartoonists are untrained artists, while illustrators are more trained.
I've always said that what cartoonists do is create friends for readers.
We need more cartoonists to truly retire when they retire, and not run repeats.
I always idealized the mainstream cartoonists and the packed schedule they worked under.
E.C. Segar, who created 'Thimble Theatre' and 'Popeye,' is one of my favorite cartoonists.
I'd love to see more equal representation of female and male cartoonists on the comics page.
When I was a kid, I desperately wanted more background information on especially cartoonists.
Let's not let cartoonists get involved in a war of any kind, except for a war against stupidity.
All cartoonists are linked together in the world - it's our language, one we can communicate in.
There are a lot of really great cartoonists out there. It's nice to be thought of as one of them.
Alternative cartoonists have to rely on comic book stores to get their stuff in the hands of readers.
Cartoonists' dirty secret is that we tend to come up with stories that involve things that are really fun to draw.
I feel like there are comic book artists who are comic book artists, and then there's comic book artists who are cartoonists.
Well, there are better cartoonists now than there ever have been. I firmly believe that. There's some amazing work being done.
I never studied art, but taught myself to draw by imitating the New Yorker cartoonists of that day, instead of doing my homework.
Like a lot of freelance cartoonists, when any opportunity like that comes along, I have a hard time saying no, whether it makes sense or not.
So many cartoonists draw the same year after year. When they find a style, they stick with it. They don't mess with innovation, and they become boring.
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.
There has always been quite a strong black and white art tradition in Australia, with quite a large contingent of cartoonists, given the size of the population.
Political cartoonists get hung up on daily deadlines and the front page. The worst thing you can do is open up the newspaper and ask, 'What's funny about this?'
I've said this before, but I think one of the reason so many of the cartoonists I know have become friends is because the Internet is a much more cooperative space.
There may be this hidden, hate-filled community of online cartoonists, but if there are, I haven't found it yet. We're all generally pretty nice people, it turns out!
If political cartoonists continue to rely on newspapers, we may be in serious trouble. It's a very transferable form of journalism, though - it works great on Web sites.
I take inspirations from newspaper strip cartoonists who look for ways of expanding their characters' worlds once they have established the initial concept of their strips.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don't know what the cartoonists are saying or how they feel about a certain issue.
Cartoonists create so many cartoons on any given topic that we can follow the life cycle of a comic idea and how it evolves over time more quickly than we can with a form like the novel.
The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.
At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
Orrin Hatch was the keynote speaker at the last meeting of the Association of American Editorial Cartoonists. He sought me out because he was a fan. I was thinking he had confused me with someone else.
As for the cartoonists 'Oily' prints, they are just artists I admire. I am lucky to be friends with most of them so it was easy to contact them. Some have come to me but mainly they are just folks that I admire.
I can definitely say that of all my friends who I consider to be really great cartoonists, we're all trying to aim at basically the same thing, which is an ever closer representation of what it feels like to be alive.
At any comic book convention in America, you'll find aspiring cartoonists with dozens of complex plot ideas and armloads of character sketches. Only a small percentage ever move from those ideas and sketches to a finished book.
Professional humorists and cartoonists have to go through a stage in which they have to kill their own internal editor just so they can get stuff out. So whether they believe it or not, they need me on the other end to do that editing for them.
There are definitely times - and I think this is pretty common among cartoonists - where you spend an entire day trying to think of an idea, and you're like, 'I give up.' And then you go and take a shower or run an errand, and halfway there, you get an idea.
Dichotomies are an inherent part of comics, aren't they? Comics are both pictures and words. They blend time and space. Many feature characters with dual identities like Bruce Wayne/Batman. Cartoonists also tend to live dichotomous lives because many of us have day jobs.
My father, George, has also affected the choices in my life regarding films. I like films that take chances or say something different or experiment. Growing up with him, I was surrounded by different artists - not just actors or film-makers but cartoonists, poets, writers.
My drawing, like that of most cartoonists, is intended first of all to be functional: to create believable space and communicate information. My strongest point in drawing has always been my ability to show characters' nonverbal communication through facial expression and posture.
Religion and political cartoons, as you may have heard, make a difficult couple, ever since that day of 2005, when a bunch of cartoonists in Denmark drew cartoons that had repercussions all over the world - demonstrations, fatwa, they provoked violence. People died in the violence.
Editorial pages all say, 'Well, the other guy has a point, too. It remains to be seen how this will come out. We certainly hope it comes out fine; blah, blah.' Cartoonists don't go that way. Our job is to stick out our tongues, to show a big raspberry to whatever pompous jerk happens to be mouthing off.
I used to worry that I had a finite supply of ideas, that I should hold on to each of them in case it was the last. But then I talked to other cartoonists, and I realized ideas are cheap; you can have a million ideas. The tricky part is the follow-through: making good ones work, making the best out of the raw material!