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.
[Voicing a cartoon] feels like going down a mysterious but joyful black hole. Once you relax for 15 or 20 minutes, and really go, "I don't care if I look like an ass," it's really fun to see what happens. You know that nothing is being visually judged.
I was reminded of the Sydney Harris cartoon that said 'adding two numbers that have not been added before does not constitute a mathematical breakthrough'.
There is a clear acknowledgement all over the world that we should not teach people to read and then to leave them without literature. For they would then relapse into a dreary and ultimately dangerous state of half-education, in which they would be easily satisfied by crude semi-pictorial approximations of the strip cartoon and by the abundant supply of degenerate literature which destroys, rather than promotes, a capacity to face the problems of the world with skill and courage
I always imagined my little cartoons on plates for some reason.
I just really love the cartoon form. I love the plasticity of it.
You guys (Boko Haram) are trying so hard to convince everybody that you're such badasses. But all you've done with this kidnapping is highlight who the real badasses are, the kids you kidnapped. Compared to a teenager who knows that her desire for an education could get her dragged into a snake infested jungle to be sold as a bribe to some demented, stick-chewing cartoon villain but still gets up and goes to class everyday, fully aware of that danger - compared to their courage - I'd say Boko Haram is a bunch of little girls. But, you know what? You don't deserve that compliment.
Rugrats was my favorite cartoon growing up as a kid.
When I was first painting the Monopoly guy I received a criticism. People said, "You're just painting cartoon characters, anyone can do that," but I'm actually a very skilled artist. That's why I released a Jack Nicholson portrait right after that that was very detailed in the face to show my skills.
In Nirvana, it is you, my friend, who goes away. You take an eraser and erase yourself. It's like the Road Runner cartoons where in the middle of the cartoon, the hand of the artist appears on the screen and erases the Road Runner.
Theres a fine line between playing a dim-witted character and playing a cartoon.
I wasn't a huge fan of the comic book, but I definitely was of the cartoon series. I wasn't much for sitting around and reading as a kid, I preferred to be outside running around and playing sports, but I was absolutely thrilled to get the role of Colossus. I don't think I realised how popular the character was until I got the role and started doing some research; it was then that I really fell in love with the character of Colossus myself.
I think getting something together to showcase your voice is important. You can also watch cartoons and play games and just kinda listen, and try to see how the design of the character matches to the voice.
It's hard to describe to people how terrible it was when you could only watch cartoons at a certain time in your life. But no, I would watch all of them - the Warner Bros. cartoons and the Bugs Bunnys and then the Tex Avery stuff. Looking back on it, they were so incredibly subversive for their time. You'd think, "Oh, they're just making jokes and this or that." But when you watch them as an adult, you think, "Oh no, they were talking about some pretty deep stuff."
I am going to name a group of my kids after my favorite cartoons, I am going to name them after Transformers.
I'm not satirical in a traditional way. What I do is more about creating caricatures and cartoons. I am commentating on the nature of how we live through photography, and how you can twist an angle to create a different perception of a person.
You do have to put in a lot time to get good at anything and than includes cartoons. So I think it's true of art and everything else.
I'm very fond of the strictly visual cartoons I did when I was breaking in in the 1970's. Over time I migrated to a more verbal approach.
Sometimes you're noodling around with a sketch and something incongruous in the drawing calls forth the caption and other times you think of a line and just have to find a place for it. A cartoon with a caption like "I don't want to live forever, but I sure as hell don't want to be dead forever either" sprang into my head and I just had to find the right venue for it which was an old couple talking to each other.
The digital realm give cartoons and cartoonists more possibilities for exposure.
We're all being segregated or sent to our different rooms to watch television that's geared only for adults, to be honest. There's very little fare - outside of cartoons and a few things for children (and) I guess (some reality shows like) The Voice - that can be watched by the entire family.
You work like hell to get yourself ahead in the business. You could go anywhere before, and suddenly you can't go anywhere. It's like being a cartoon character.
I like What Goes Around Comes Around for old concert tees. Oh man, I got this 'Sgt. Pepper' cartoon Beatles shirt there; it was, like, $300. I didn't even know how much it cost - I thought it was gonna be, like, $80 at most - till I got to the register and was like, 'Oh mah gawd!' Good Lord. But it's classic vintage rock, you know?
I'm a huge fan of Warner Brothers cartoons. I would spend many hours alone after school watching Daffy Duck. I think Daffy Duck is one of the great comedic villains.
Charles Murray, however, clearly believes that being able to cure fatal diseases is more important than some other things and that Rembrandt was a greater artist than your local sidewalk cartoon sketcher. Most people might regard this as obvious common sense but some of the intelligentsia may be seething with resentment at seeing their pet fetishes ignored.
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