If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.
Mom’s not feeling well. So I’m making her a get well card.” “That’s thoughtful of you.” "See, on the front it says, ‘Get Well Soon’ … and on the inside it says,’Because my bed isn’t made, my clothes need to be put away and I’m hungry. Love Calvin.’ Want to sign it?” “Sure, I’m hungry too
Since September it's just gotten colder and colder. There's less daylight now, I've noticed too. This can only mean one thing - the sun is going out. In a few more months the Earth will be a dark and lifeless ball of ice. Dad says the sun isn't going out. He says its colder because the earth's orbit is taking us farther from the sun. He says winter will be here soon. Isn't it sad how some people's grip on their lives is so precarious that they'll embrace any preposterous delusion rather than face an occasional bleak truth?
Amazingly, much of the best cartoon work was done early on in the medium's history. The early cartoonists, with no path before them, produced work of such sophistication, wit, and beauty that it increasingly seems to me that cartoon evolution is working backward. Comic strips are moving toward a primordial goo rather than away from it . . . Not only can comics be more than we're getting today. but the comics already have been more than we're getting today.
I played in rock bands in college and then right out of college I moved over to Europe and lived in Ireland for about four years playing in indie rock bands. I love and miss being in a band, I still am in a band but pursuing that as a career I definitely missed it but I felt like that ship had sailed.
Well, coming at a new work requires a certain amount of patience and energy, and there’s always the risk of disappointment. You can’t really blame people for preferring more of what they already know and like. The trade-off, of course, is that predictability is boring. Repetition is the death of magic.
Every artist learns through imitation, but I rather doubt the aim of these things is artistic development. I assume they're either homages or satiric riffs, and are not intended to be taken too seriously as works in their own right. Otherwise I should be talking to a copyright lawyer.
Ms. Wormwood: Calvin, can you tell us what Lewis and Clark did? Calvin: No, but I can recite the secret superhero origin of each member of Captain Napalm's Thermonuclear League of Liberty. Ms. Wormwood: See me after class, Calvin. Calvin: [retrospectively] I'm not dumb. I just have a command of thoroughly useless information.
I wasn't having any luck getting accepted anyway and it forced me to re-examine what it was that I really wanted to do. In my experience in political cartooning, I was never one of those people who read the headlines and foams at the mouth with rabid opinion that I've just got to get down on paper.
United Features had given me a development contract, which meant I was to work exclusively with them and rather than completing everything on my own and turning it in to them and having it rejected or accepted, I was working much more directly with the syndicate, turning in smaller batches much more frequently, and getting comments on them. The idea was that they would help me develop the strip and then, assuming that they liked it, it would flow into a normal contract for syndication.