Dawn Griffin: and her life with the Aliens “Zorphbert and Fred”

Dawn Griffin is the creator of “Zorphbert and Fred”, a fantastic webcomic about two aliens who come to Earth (disguised as dogs, none the less) to study the human race. Dawn’s initial goal was to become syndicated, but like most cartoonists was faced with the realization that the lifespan of daily comics in newspapers was disappearing, so she took to the web. And now her comic “Zorphbert and Fred” has gained a great following and become highly successful. Dawn holds a BFA from Tyler School of Art in graphic design and illustration, and earns a living as a designer. I was thrilled to have Dawn take a few minutes out of her hectic schedule and answer some questions about her life and art and share them here at “Don’t Pick the Flowers”. 

David: Hey Dawn, you have a great web comic called “Zorphbert and Fred”. How did the idea for your characters and comic come about?

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Dawn: Thanks David, I wish I could say I woke up one magical morning and had the idea for this comic. However, it was a long and winding road for me. I had retired my first comic “Leftovers” which was my baby for more than 10 years. “Leftovers” was your average college-grads-playing-video-games comic that everyone seems to do, and the syndicates I submitted it to weren’t into it. One rejection letter specifically said the demographic for this comic wasn’t large enough. So, when I was thinking up concepts for this new comic, I wanted it to be a broader idea. However, all the most obvious and broad subject have been done to death. In a round-about way, I came to the idea of a comic about aliens. A: it’s not a subject that’s been done so it’s unique, and B: by making the main characters 100% “unrelatable” to any reader (here on Earth that is), it also becomes open to anyone in a backwards kind of way. No one directly relates to the aliens, but if I make the focus of the comic about humans and the alien’s interpretation of us, it’s basically relatable to everyone. I took a lot of inspiration form the TV sitcom “Third Rock from the Sun”; the 3rd person point of view of humanity always intrigued me. The last step was how to separate the comic from the sitcom, and voila— alien dogs. Cute AND insightful. As for the character’s personalities, I think they’re a twist on the tried-and-true pairing, much like Ren & Stimpy, or Satchel & Bucky, or the classic Laurel & Hardy. It’s classic for a reason: it works.

David: What Character(s) are you most like in your comic and how do you feel you relate to them?

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Dawn: Well the most obvious answer is the female owner, as the young couple who adopts the 2 alien-dogs is loosely based on my husband and me. Like me, the female owner is a bit of a tomboy: into sports and video games, not the average woman… Which makes the aliens research findings a bit funny as she’s not what they expect? However, Fred’s optimism and good nature I would like to think is my softer side…. And Zorphbert’s sarcasm and tireless work ethic is very much based in my personality as well. Oh, and I sure as heck was the “Weird Kid” growing up… So a lot of what happens surrounding the Weird Kid character is based on how it felt to be ostracized as many of us were as children.

David: What are some of the issues and topics you like to address when writing your comic? What are the things you hold closest to your heart?

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I try not to get overly preachy or political; as this is an all-ages comic and I’d like the tone to remain playful. However, having some thought-provoking insight surrounding the issues the 2 aliens discuss is important to me- I like to have something to say beyond the usual disposable gags. I think a major part of what goes on in the Zorphbert & Fred universe is based in acceptance and the willingness to fully understand those around us. Z&F’s mission is to try to decode the behaviors of us humans, yet we have a hard time relating to each other, and accepting our differences. Between the female owner and the Weird Kid straying form the “norm”, and the aliens’ constant mockery/analyzing of us Earthling, I hope that message passes on to the readers… And we as a species can move towards a more united future, embracing both similarities and differences. We’re all a little bit weird, making us each a little bit alien. :0)

David: You also illustrate Abby’s Adventures; can you talk a little about that?

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Sure! The kid’s books series “Abby’s Adventures” was dreamt up by a friend of my mother’s, who needed an illustrator to progress with her project. In reading the first story, despite being very “girly” for my tastes, I realized what a wonderful message the story had- something that is missing in a lot of the large toy and book industries that are geared towards young girls. In the first story, little 6-year-old Abby looses her tooth on her school’s Picture Day and frantically comes up with funny ways to fill the gaping hole in her pretty smile (like, mini marshmallows, or her Nana’s dentures!). When nothing works, she becomes upset, thinking she’ll never be pretty enough for her picture. Her mother sets her straight, showing Abby her own baby book pictures, when she only had 1 tooth. Abby realizes that loosing teeth is just apart of growing up and that being pretty on the INSIDE is far more important. These types of messages are missing in a lot of what girls are brought up on today— there’s not only one kind of “pretty”, that self-esteem is important and needs to be nurtured by parents. This is why I signed on to illustrate this series, and I’m glad to say it’s doing well. Now taken under Eifrig Publishing’s wing, and boasting 4 books: Picture Day, Dance Recital, Earth day, and Christmas Carol!

David: Who are some of your cartooning hero’s? And with that same note, what advice would you give to someone who wanted to start their own comic or web comic?

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I grew up on the classic comic strips: Peanuts, Calvin & Hobbes, Fox Trot, Bloom County, For Better or For Worse. My first memory, as a toddler, is just a snapshot in my mind, but it was of the yellowed Peanuts curtains hanging in my room. Needless to say, Charlie Brown, Snoopy and crew have been embedded in my life. I adored Calvin and Hobbes, and bought all the collections with my allowance… And between those 2 comics, I knew by the age of 12 or so that I wanted to be a cartoonist. By 14 I was submitting to syndicates, because (as I figured at the time), it took Bill Watterson 10+ years to get syndicated, I had better start young! Once I discovered webcomics, and realized I could take the reigns instead of waiting for someone else to, I ditched the syndication route… Which is probably smart considering where newspapers are headed these days.

As for other aspiring cartoonists or creative-minded people who are looking to get into webcomics, I suggest … First and foremost… just keep drawing & writing. Do not worry about the overall story or the finer details, or how to merchandise your concept, or exhibiting at conventions… Put 110% into the comic itself for at LEAST a year. Too many people dive into webcomics, specifically, with more of a drive to merchandise than to draw and write really good comics, and that’s completely the wrong way of approaching it. Building a readership has many key points, but the BIGGEST key is making the product the best it can be. The second suggestion I have is to take a stroll through the Webcomic Alliance website: www.webcomicalliance.com. This is a tutorial/advice website and podcast I am apart of, with the intent of helping up-and-comers and newbies in the webcomic business. The articles cover everything from writing, to video tutorials, to logo design, to conventions. And the community there, full of artists and writers of all levels, is so wonderfully helpful as well, it has been an awesome experience for me.

David: Thank you Dawn, I really appreciate you being featured. Thanks for the good advice and sharing about your life and work. I love “Zorphbert and Fred” and can’t wait to see what’s next with you and your wonderful Aliens!

If you aren’t already familiar with Dawn and “Zorphbert and Fred” check out the links below to avail yourself to some incredible fun!

www.zfcomics.com

www.webcomicalliance.com

www.abbysfanclub.com

twitter.com/#!/dgriff13

www.facebook.com/dgriff13

 

 

 

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James Anderson: and the world of “Ellie on Planet X”

James Anderson is a truly exceptional cartoonist. James is the creator of the web comic “Ellie on Planet X” and his characters are engaging and the art is fantastic. I really love the style James uses to create his art and I was thrilled to contact him and find out how he came up with “Ellie on Planet X”. Here is part of the conversation and I know you are going to love his comic.

David: Hello James, you have truly fantastic comic called “Ellie on Planet X”. Where did the concept for your comic come about and when did you become interested in becoming a cartoonist?

James: Thanks and thanks, David, for including me in with so many great artists!

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Just like a lot of cartoonists, I started drawing the moment I could scribble on the walls in crayon. I don’t know that I ever consciously decided to become a cartoonist, but a lot of the art I liked as a kid (and proceeded to trace over) tended to be from comic strips like Peanuts or Star Wars comic books.

The idea for Ellie on Planet X has grown over something like a ten year period. I had been doing some Star Wars comics for West End Games and one of the stories took place on a strange little planet. So I decided to create a strange little planet of my own and populate it with flora and fauna from my imagination. The idea of world building just appeals to me and I’m a big fan of Tolkien, as well as James Gurney’s Dinotopia.  I’ve always loved dinosaurs too, and they influenced the animals I drew and how I evolved them into different shapes and sizes.

The only thing my planet was missing was a story. At some point I decided it needed someone to explore it. At the time I was first coming up with ideas, the Sojourner rover was rolling across the surface of Mars and it hit me that my explorer needed to be a robot. Originally Ellie’s story was going to be something of a children’s book, but it just slowly became more comic-like.

David: I love the style of your comic and artwork. What are some of the influences that help mold your creations?

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James: Most of my childhood influences were from Bugs Bunny cartoons and Star Wars. It wasn’t until I got older that I really became interested in comic strips. The big one for me in high school was Bloom County. I’m sure a lot of that shows up in both my art and writing. I probably would have been all over Calvin and Hobbes at the time too, but it wasn’t in our paper. I didn’t discover that until later but now it’s one of my favorites.

In college I had my own strip in the school paper. I started reading a lot of older strips at the time like Thimble Theatre with Popeye and Polly and Her Pals, but fell in love with George Herriman’s Krazy Kat. More recent influences include the comic strips Cul De Sac and Mutts. I’m a big fan of deceptively simple iconic characters.  Other art influences include Frank Espinosa, John K., Scott Morse, Dr. Seuss, and so many more than I can think of.

David: What tools do you use to create your art?

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James:  Ellie’s completely digital. I write it and draw it on a Cintiq or on an old tablet PC I have. I really like being able to skootch things around and have multiple undo’s. I sketch the strip out using Autodesk Sketchbook Pro, and then “ink” it on another layer. Then I do all of the large areas of color using Corel Painter. Then it’s back into Sketchbook Pro to add the finishing touches and the word balloons. Most of the brushes I use are just stock versions that have been tweaked a little.

I get a lot of comments about my colors palette. I like using the minimal color – it keeps the artwork unified and also makes it easier and quicker to produce because it limits my choices.

David: What kind of cartooning routine do you have and what sparks your creativity?

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James: I have the worst routine. I begin by freaking out the day I have to come up with a new comic. So I take an extra long shower or go for a long car ride until I come up with an idea that I think works. Usually at the 11th hour. Finally, I sit down and do the strip, uploading it minutes after I’ve completed it. I understand that Berke Breathed drew Bloom County sitting on the plane on his way to deliver his strips. That’s what I’m going for.

As to what sparks my creativity, it comes from all kinds of things like paleontology, the novels of Hal Clement, Star Wars, Seinfeld, playing Sim City, my dog, looking at great art, and just talking with other cartoonists.

David: What future plans do you have for your art and comics? What can we expect to see in the future for “Ellie on Planet X”?

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James: I’m currently in what they call a “transitional phase”. I’ve been a graphic artist for such a long time and now I’m leaning toward doing more illustrative work. I have children’s books I’d like to see published too. As for Ellie, I’m just going to keep doing the strip and hope I can entice more people to read it. I hope to publish a book sometime in the next year that would be something special, more than just the comic. And then, who knows? Just like Ellie, I’m kind of on my own adventure. We’ll see how it turns out!

David: I can’t wait to see what is next. James thanks so much for sharing your comic, as you know I absolutely love it. 

Check out more of James Anderson and “Ellie on Planet X”:

ellieonplanetx.com

www.facebook.com/pages/Ellie-on-Planet-X/178672372147907

twitter.com/#%21/EllieOnPlanetX

jimcandraw.com

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Keith Brown: And the wages of Cartooning

Keith Brown is the humorous creator of the comic “The Wages of Sin” “Potluck” and “It’s Grisworld”.  I had the privilege of speaking with Keith and he is one of the most down to earth and funniest people I’ve ever spoken with. Keith has some fantastic goals planned for the future and I’m thrilled to peek into his cartooning world and share it with you here at “Don’t Pick the Flowers”.

David: Hello Keith, tell me about your comic “It’s Grisworld” and how the idea for it came about.

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Keith: I’m a huge fan of the Bob and Tom Show. “It’s Grisworld” is my take on a day in the life of host Tom Griswold. The idea came about when I was trying to think of a way to do a strip without having to rely on trying to get a newspaper syndication deal. As you know the competition is fierce and the opportunities for a coveted position seem to be fewer and fewer. As I listened to the show everyday, I found myself imagining things Tom might say or do. Hence, its Grisworld was born.

I have only done six concepts strips so far and the casual listener or non listener probably won’t get the gags. Daily listeners will get the gags but whether or not they think they are funny is a totally different kettle of fish. I would love to hear their thoughts and I’m a mission to see how many likes and or comments I can get on my facebook page.

www.facebook.com/#!/pages/Its-Grisworld/396191803730953

David: You have been cartooning for a while, can you tell me a little of your other comics and history with comics?

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Keith: I’ve only been cartooning seriously for about two years. Twenty years ago I messed around with cartooning a little bit, but two years ago inadvertently got back into it. I live in a very small town in the middle of Missouri. Population approx. 13,000. There were some local political shenanigans going on about how our Mayor ended up with the City Administration job. I sketched up an idea and sent it to our local paper. The editor loved it but he wouldn’t run it. Small town stuff, you know? He was not about to rock the boat with any advertisers. I had forgotten how much fun that was and quickly drew up about six more single panel gags of various topics. I sent them to an editor of the paper 30 miles south in Sedalia, Mo. Population about 30,000. Next thing I knew he offered me the position for doing their Sunday editorial cartoon on local topics. I jumped at the chance. I did that for just over a year. It was a great experience in dealing with a wonderful editor (Bob Satnan) and dealing with dead lines. I have since given that up as my well went dry dealing with local topics only.

David: Who are some of your cartooning heroes and what are the things that inspire you?

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Keith: My hero’s are the same as most other cartoonists, Schulz, Watterson etc. My inspiration is that no matter what is going on in the world, good or bad, we need to laugh like we need to breathe. I think newspapers should be ashamed of themselves the way they are minimalizing what cartoonists have to offer. If they would actually get off of their collective asses and ask their readers opinions, they would find that cartoons are one of the few things that readers actually look forward to.

In reality my cartooning hero’s are the very cartoonist appearing right here in your blog profiles. Seeing and enjoying what they do is what inspires me to do what I do. I hope that one day they will respect my work as much as I respect theirs and that they will indeed consider me not only a cartoonist, but a friend, a colleague and yes…competition. Should that happen then I could truly consider myself a successful cartoonist. Unless of course I we’re to make an obscene of amount of money then that would trump all of that sugary crap I just said.  Let’s stick with the sugary crap I just said just in case I ever need to ask one of them for a ride from the airport. I’m kidding, of course. We’re cartoonists. It’s what we do. The money would still be pretty cool though.

David: What’s your cartooning schedule like and what are the tools you use?

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Keith: Right now I work in the engineering dept of a local manufacturing company as a mechanical designer. We make everything ….but a profit. Like most of you I hope to have a full time gig someday. When something strikes my funny bone I draw it up. I prefer to do most of by sketching and line work very early in the morning when I have fresh eyes. Sometimes after a full day at the computer the last thing I want to do is come home and stare at a drawing board or monitor but it all depends on what I have going on. As far as my tools, like everything else in my life I probably do things backwards. I ink traditionally on paper. I then scan those. At that point I use Corel trace and turn them into vector drawing. The tracing process ever so slightly alters the actual line work which in turn has a profound effect on whatever “style” I may have created. It seems as if I spend half of my time trying to create a style and the other half of my time hating the style I have created. Is that just me? I then color in Corel using flat tones. I occasionally will use shading or highlights. It depends on how lazy I feel at a given moment.

David: What can we expect to see in the future for you and “It’s Grisworld”, what’s on the horizon?

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Keith: “It’s Grisworld” is totally up in the air. I have spoken with Tom and he has expressed some interest although he has made no commitments. That’s why I’m hoping everyone will visit the page and give some comments, give me some likes and share the page with others. If I can get some good internet buzz going it might help Tom to move forward with the concept. Anyone reading this who helps with that I can only say thank you.

If I can’t get Grisworld to fly, I will probably go back and refine and revise “The Wages of Sin” comic strip. This is a strip about daily life in hell where the Devil see’s himself as Lord and Master of the Underworld. The problem is that no one else there really see’s it that way at all. That strip made it through nine rounds of last years Cartoonist Studio contest so maybe there is something there after all and I’ll try to build on that. I currently have an entry in this years contest called “Potluck” which is exactly that, potluck. I wasn’t going to enter this year but at the last minute I put in some single panel stuff that I thought folks might like. I hope they will check it out. www.thecartooniststudio.com/contest.aspx

David: Thank you so much Keith, I truly wish you the best of luck with everything. All three of your comics are a lot of fun and I can’t wait to see your name in syndication. Check out Keith and his comics at the links above or you can even friend him via Facebook: www.facebook.com/#!/profile.php?id=1291334075

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Cheryl Nickel: and Commander Broccoli

Cheryl Nickel is the creator of a positive and upbeat comic called “Commander Broccoli”. Her character Commander Broccoli was first created in high school, and from there was published for two and a half years at Red River College where she received a degree in Graphic Design. Cheryl currently publishes here comic at the “Carillon” in Steinbach Manitoba and hopes to have Commander Broccoli published world wide in the near future. 

David: Hello Cheryl, thank you so much for taking the time to be featured at “Don’t Pick the Flowers”. When did you become interested in cartooning and how did “Commander Broccoli” begin?

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Cheryl: Hey David, thanks so much for featuring me & Commander Broccoli!

I have always drawn cartoon pictures since I was really young. When I was about ten years old, I remember sitting down beside my Dad on the couch with my notebook and a pencil, and he would come up with funny captions for me to illustrate. These were my first comics. In junior high I started to draw comic strips of my friends to make them laugh.

In my second year of high school, I created my cartoon character, Commander Broccoli. At that time I was steeped in comic books including some Spiderman and Wolverine, but mostly alternative comics by relatively unknown artists (my favourite was the Tick). These comics influenced my character at first, because the initial sketches were like a typical Marvel-type superhero, serious and muscular. But the only thing I liked about him was the helmet. So I trashed that idea and drew an intense, serious looking cartoon rabbit wearing the same helmet. This was much better! It wasn’t until after I did two comics and a painting that I realized that I had to scrap the seriousness as well.

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I was also going through a long phase where I got a kick out of nicknaming my friends and pets after vegetables (it still strikes me as funny, though I don’t know why). With my character’s new wide eyes and my affinity to vegetables, he became ‘Commander Broccoli — Defender of Silliness.’ His first official publishing came two years later in my college newspaper, along with a few hundred screen printed t-shirts.

People started telling me that I should keep the comics coming. Some people were practically demanding it!

David: What’s your cartooning routine like? Do you have a set schedule and where do a lot of your ideas come from?

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Cheryl: My comic strip is in my local newspaper every week. This is great for me, because it requires that I come up with a weekly comic strip. Around 9:00 am, I eat my breakfast, make some tea and do a few other procrastinating-type things before I actually sit down with my sketch book to think of an idea. Recently I only need to spend about an hour trying to come up with an idea. So between 10:30 and hopefully 11:30, I pencil, ink and letter my comic strip. If I haven’t made any big mistakes or decide to make a big change, I scan my comic and, using Photoshop I add the blacks and greys and tweak it a bit. By about noon, if all mostly goes according to schedule, I email my comic to the editor. After that I do a colour copy of it and file it away. Then I take a different strip that I created a few weeks back and use it to update my website, Facebook and Twitter accounts. That way the newspaper readers get to see my newest comics first.

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Sometimes I get ideas from my friends, my husband and my kids but mostly they pop into my head out of nowhere. What I do first is talk to God about it and ask him to give me ideas, then I sit and wait until I get a clue or some concept. Initially I get something that might not make sense or seem funny, but it’s a clue. I take that concept and work at it until I’m happy with the end result.

David: Who are some of your cartooning hero’s and favorite comic strips?

Cheryl: Growing up, I read all the comics in the newspaper every day. My all time favourite comic strip was Bloom County, it was the one comic that could really make me laugh. A few of my other favourites were Herman, Calvin and Hobbes and The Far Side.

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I’d have to say some of my biggest cartoon heros are my kids, I have two sons ages 9 and 11. I’m blown away by how they can draw ten times better than I could at their age. They are fearlessly creative and driven to draw and animate for hours on end.

David: I hear there may be a “Commander Broccoli” book in the works. Can shed a little light on that?

Cheryl: Yes, recently a number of people either said or implied that they would like a Commander Broccoli comic book, so I’m going for it. I’m shooting for printing them this year, hopefully in May. It will be a collection of almost all my comics, including extra illustrations that I will custom make for the book.

David: There are many rewards for being a cartoonist. At the end of the day what is the greatest accomplishment you feel you have achieved?

Cheryl: I like challenge and the process of producing each comic strip and I enjoy getting feedback from others. I have over a hundred and fifty comic strips now, and that’s a nice feeling.

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It would be an accomplishment to know that people find my characters to be funny, deep, vulnerable and something that people can relate to emotionally. I would feel rewarded knowing that my comic strip made a difference somehow or influenced someone to make a choice that they would benefit from in their life.

One day I hope my comics will cause people to really laugh, right from the belly. That would be success for me.

David: And it seems you have already obtained that from people. I truly appreciate you taking time to be featured at “Don’t Pick the Flowers”. I wish you the very best with all that lies ahead.

Find out more about Cheryl Nickel and Commander Broccoli at:

www.commanderbroccoli.ca

nickelcreative.blogspot.com

twitter.com/?lang=en&logged_out=1#%21/BroccoliComic

www.facebook.com/CommanderBroccoli

 

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Bill Abbott: and his world of cartoons

Bill Abbott is the extremely talented cartoonist and illustrator of “Bill Abbott Cartoons”. His work appears in magazines, on greeting cards, calendars, to name just a few places, and represented by Alexander Pollard. Adam Meiklejohn of MGL Licensing (Bill’s licensing agent in the UK) just signed a deal with Hallmark UK making it official – they’ll be using 82 of Bill’s cartoons for cards, gift bags, and gift wrap, among other products. Bill puts a lot of work into his comics and releases only the best. When I talk with other cartoonist, I’m always listening to what they have to say, and Bill is a wealth of information. Bill has some exciting plans ahead and I’m thrilled to feature him at “Don’t Pick the Flowers”.

David: When did you become interested in comics and decide you wanted to make comics your career?

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Bill: My first experience with cartooning that I can recall was when I was four years old. I had “Peanuts” curtains and bedspread, and attempted drawing them over and over again. I was, and remain, a huge fan of Charles Schulz and the commitment he brought to the craft of cartooning. From that point forward I’d become addicted to comics and had the little paperback books of “Dennis the Menace”, “Peanuts”, and works by other cartoonists as constant companions. I continued to draw through my teen years then, for some reason I really can’t put my finger on, I got away from it. In the time since, I’ve been a stockbroker, I’ve served in the military, a special agent in law enforcement, among other things, and occasionally turned to drawing when time permitted. I returned from overseas in mid-2008 after which I realized that life has an undefined expiration date and I’d better start living it doing the things I’m passionate about. Cartooning and humorous illustration are at the top of that list (unless an unknown rich uncle leaves me a gazillion dollars, then hyper-wealthy international jet-setter moves to the top of the list). I hope that wasn’t too long winded.

David: What are the things that spark your creativity to create comics?

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Bill: That’s a great question and kind of a tough one to answer. I’m a fan of so many other cartoonists, I’d say that looking at the work of really talented people like Mark Anderson and his “Andertoons”, Ted Goff’s business cartoons, Randy Glasbergen, the greats of Mad magazine, New Yorker cartoonists and so many others would have to be at the top of my list of inspiration. Additionally, I read quite a lot and love the humor of H.L. Mencken – it’s a dry wit that’s timeless, and the well delivered turn of a phrase can become the seed of a cartoon. Sometimes I’ll hear a word or a name that sounds funny, and I’ll jot it down to use it in a cartoon. Other times it’s looking at great artwork. My “Washington Crossing theDelaware” cartoon started that way. I also try to take art classes whenever I can through our adult education programs here in westernNew York, and try things I wouldn’t normally. I love to learn and I’m committed to always improving my work, and there’s a good deal of inspiration in that. And the coffees free, so there’s that too.

David: How do you create comics? What kind of routine do you have, what works best for you?

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Bill: To me, the writing is the most critical part of a cartoon, so I start with gag-writing. You know those little yellow sticky notes? I use those to do a thumbnail sketch of gags I come up with, and then stick them in a business-sized envelope to look at later. I’ll usually come up with five to ten at a time. I’ll then go back to the envelope after it starts to fill up and go through them to find ones that are good enough to draw without rethinking. I use Strathmore Bristol board for all of my cartoons and start by drawing a seven inch by seven inch square box. I have a plastic drafting triangle-thingy with the dimensions marked on either side, then use a Sharpie to ink it in. Once that’s done, I pencil in the gag and try to add as many of the final details as possible. For inking, I now use an antique Pelikan fountain pen – I’d found it described in New Yorker cartoonist Mischa Richter’s book, “The Cartoonist’s Muse” – a must have for anyone who is considering cartooning as a career – and fell in love with how the pen affects line work. Prior to that, I’d used Speedball dip pens, Micron pens, and combinations of the two. Part of the tactile pleasure of drawing is experimenting with different mediums. I sounded pretty high falutin’ there, didn’t I. Anyway, I then scan in my work with an Epson scanner, and use Photoshop to add the color. I’ve still got a long road to walk before I can call myself proficient in Photoshop, but I’m forever searching for tutorials and podcasts on techniques. Chaos is the routine in my house, with my wonderful wife, two growing sons and a crazy schedule – something I’ll bet many cartoonists find themselves having to work around.

David: You also create greeting cards, can you expand on that?

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Bill: Actually, I don’t really create specifically for greeting cards, I just write and draw what I think is funny with the hope that others might think it’s funny too. I submitted my work to Renaissance Greetings back in 2003 and after about six months received a phone call from their art director saying they’d like to license three of my cartoons. After I regained consciousness, I formatted the work the way they’d asked and sent it along on a CD. I still receive royalties from that sale. I then spent a great deal of time overseas on numerous deployments, so my cartooning took a bit of a rest. When I returned from my last deployment in 2008, I contacted art licensing agent Suzanne Cruise of Cruise Creative to see if she’d be interested in representing me, and she was. Since then my work has appeared on over seventy different greeting cards with a number of companies, on calendars with Mead – even as figurines. I now have licensing agents in theUK(MGL Licensing) andAustralia(Grahame Allan), and it’s a lot of fun seeing my work on different products. Adam Meiklejohn of MGL is working on finalizing the details on a big deal, and we hope to make an announcement very soon in which my work will be seen on a lot more stuff by a lot more people.

David: You have some exciting plans ahead, what can we expect to see from you and your work in the future?

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Bill: First, I’d like to say how grateful I am to be doing what I love to do, and how truly wonderful people have been in responding to my work. I was recently contacted by Bill Kellogg of Ink Bottle Syndicate to run “Spectickles” weekly in the Funnies Extra (hitting a city near you in the coming months) published by Richard Cross who also happens to be a talented cartoonist. Richard and I had a few conversations, the results of which were collaboration on a comic we call “Karma Cafe”, which is also being syndicated weekly in the Funnies Extra. It’s been a lot of fun and I draw in a totally different style, so I’m pretty excited about that. Licensing has certainly taken a whack with the poor economy, but good things continue to happen, and that’s exciting too. Additionally, I’ve started doing some illustration work, and I’m being represented by agent Alexander Pollard, so there may be a children’s book in the future – we’ll see. Cartooning is my passion, and I’ve been assisting others new to the craft which is very gratifying. Giving back for the good fortune you’ve received, to me, is a critical part of completing your role as a professional cartoonist.

David: Your passion is infectious Bill. What a pleasure to hear of your life and work. And thank you for sharing your good fortune.

Find out more of Bill Abbott at:

billabbott.weebly.com

billabbottcartoons.com

www.karma-cafe.net

www.zazzle.com/billcartoons

 

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