Michael Kandalaft: and That Monkey Tune

Posted on February 16, 2012 by David Hurley

“That Monkey Tune” creator Michael Kandalaft speaks with a fan during the Chicago C2E2 ComiCon. Photo credit: Mackenzie McCluer

Michael Kandalaft is the creator of the comic “That Monkey Tune”, a fun and charming comic about monkeys living in the human world. Michael’s comic reaches over 150,000 readers in theU.S.andCanadaand the appeal of the characters and story is captivating. Last year Michael was admitted into The National Cartoonist Society, one of the highest honors, and he is represented by Ink Bottle Syndicate. When I talked with Michael I discovered that not only does he have a high work ethic but is one of the friendliest people you will meet. Now I would like to share with you a little of Michael Kandalaft and That Monkey Tune.

David: Hey Michael, it’s a pleasure to be featuring you and “That Monkey Tune”. You have such a great comic, when did you become interested in being a cartoonist and decide comics was the direction you wanted to take with your life? Who would be some of your hero’s in the comic’s world?

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MK: Thank you for the compliment and for great opportunity to be interviewed.

I come from an artistic family, where my father is a painter, thus I have been drawing ever since I was a few years old. My father also grew up on “The Adventures of Tintin,” having actually bought the weekly installments when he himself was a child.

Since I could draw, I was always interested in comics specifically. The spirit, humor, and color appealed to me, as well as the immediacy and effectiveness of the medium to communicate visually. I don’t think I decided specifically to be a cartoonist until I was a few years older, maybe about ten years old, and I realized that I wanted to do something with my life that nobody could even tell me I couldn’t keep doing. I also wanted the ability to create something out of nothing, and develop my own unique voice from a myriad of experiences and influences.

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I was also inspired to keep drawing by my first piano teacher, Mrs. Deanna Masi. Mrs. Masi would always include my cartoon drawings of monkeys playing piano in our recital brochures for all the other parents to see.

Mrs. Masi past away tragically after a stuggle with breast cancer when I was in high school, and anytime I find it hard to drag myself to the drawing board, I remember all the amazing people, like Mrs. Masi who have always supported my artwork and give it greater raison d’etre. I hope wherever she might be, she would be proud of my comics and how far I have come since I was a little kid doodling in between lessons.

As far as cartoonists, my original influences, besides Herge, the creator of “Tintin” which I referenced before, as well as Charles Schulz, Bill Watterson, Winsor McKay, and George Herriman. I also adore all the comics from the 30’s, like the original Frank King “Gasoline Alley” strips and George McManus “Bringing up Father.”

David: How did the idea and characters for “That Monkey Tune” come about?

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MK: When I was born, I was given a stuffed monkey, which I named Johnny, after Johnny Carson, who still had a show when I was born. I never had any teddy bears, but by the time I was a few years old, had accumulated a number of stuffed monkeys, which have served as the inspiration for my comic strip characters.

David: How do you identify with the characters in “That Monkey Tune”?

MK: I believe my characters represent different parts of my personality, and hopefully others can relate as well in terms of their own traits and flaws. Elliot represents the emotional side, while Beagly represents the intellectual side. Dadoo and Umo (who are based on me and my brother), are a study in contrast between responsibility and irresponsibility. Elliot’s relationship with Zeus, his teddy bear, represents true love, and King Bubbles is a hopeless, insecure, and depressive character.

David: What are the things that inspire your comic and what’s it like for you in a daily “cartooning” routine?

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MK: Inspiration comes from everyday life. Sometimes the ideas may come from events or recollections that happened years in the past, or they may come from the day before. I maintain a very strict cartooning routine, which included two parts – the writing, and the drawing. I always draw in batches, eight comics a week (six Dailies, one Sunday, and one bonus comic). Typically I will stagger the writing and the drawing, so I am always one week ahead with the writing, which I will then draw the following week. I typically start my day by writing each day at 6am for an hour, and end my day by writing for another hour. In between, I do my drawing, which I first sketch with pencil, then ink with an old fashioned calligraphy pen and ink bottle, then I erase and clean-up my comics, before I scan them in and color them on the computer.

David: What are the tools you use to create your comic and what are your favorites to work with?

MK: As I mentioned before, I draw with an old fashioned pen and ink. I have two nibs, one for lettering, and another for drawing. The ink is black India Ink. I use an HB pencil to do all my sketching before inking, and I use Strathmore Smooth Bristol board for all my work.

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David: You have also become a member of “The National Cartoonist Society”, which is such a great honor. Can you give me a little insight into that?

MK: The NCS is an incredible society of the most talented and nicest cartoonists in the professional world. It is a great honor to be a member, and I always look forward to having a meeting of the cartoonist minds whenever possible.

David: What would you consider to be the greatest legacy you could leave with “That Monkey Tune”?

MK: The greatest legacy would be to add as much value as possible to as many people as possible throughout the world. To make one person smile is wonderful, but to make millions of people smile would truly be an incredible opportunity.

David: Thank you Michael. You have a bright future ahead. You have a fantastic comic and I can’t wait to see what you have in store for us.

Check out “That Monkey Tune” if you aren’t already familiar with Michael’s great comic.

You can also buy Michael Kandalaft’s new book “Ready, Set Go!”at www.amazon.com

thatmonkeytune.com

www.facebook.com/thatmonkeytune

twitter.com/#!/thatmonkeytune

 

 

 

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Daniel Beyer: Long Story Short

Posted on February 9, 2012 by David Hurley

Daniel Beyer is the talented creator of “Long Story Short” a highly smart and funny comic. Daniel is the winner of last years Cartoonist Studio Contest and is now in the development phase with Creators Syndicate getting ready for syndication. Daniel is always prepared with a sketch pad near by to capture any creative ideas as they start flowing. Daniel has a bright future ahead and I’m thrilled to feature him at “Don’t Pick the Flowers”.

David: Hey Daniel it’s a pleasure to be featuring you here at “Don’t Pick the Flowers”. You have an excellent one panel comic strip called “Long Story Short”. When did you become interested in being a cartoonist and decide that was the direction you wanted to take with your life?

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Daniel: Early on, I was inspired by Chester Gould, Joe Martin and Bill Sanders. It was mainly geographical – they all lived nearby. I wanted to be just like them. I was 15 or so. What I do now is inspired greatly by The New Yorker and magazine cartoons in general. I started selling my cartoons in 2008 and have been published by The New Yorker, Reader’s Digest and Playboy. I had a lot of ideas rejected by these pubs so I posted them on Comics Sherpa just to see who my audience might be or even if they existed outside of magazines. Posting on Sherpa led me to the Cartoonist Studio contest, which I was lucky enough to win. Now I’m in a development phase with Creators Syndicate and getting my comic primed to tackle syndication. To answer your question, 2008 is when I made a serious run at cartooning as a profession.

David: What’s it like in “The day in the life” for you? What kind of schedule or routine do you have? And with that, what are the things that spark your writing and creative process?

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Daniel: It’s pretty simple: I’m an at-home dad and I work around my twin boys’ schedule. They go to school in the early afternoon which allows me to work a bit. I also try to occasionally work evenings and weekends to get things done. My sketchpad is always nearby because jokes happen when you least expect them to. To spark my creative process, I just try to get inside my head and tinker with the funny thoughts, weird observations and silly situations that are roaming around in there. It usually leads to something I can share with readers via Long Story Short.

David: Who are some of your favorite cartoonists and comic hero’s, and in your opinion what makes a good comic?

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Daniel: I really get off on New Yorker cartoons. You can’t deny how smart and funny a lot of them are. That’s really what I try to make Long Story Short – smart and funny. Mick Stevens is my favorite NYer cartoonist. Michael Maslin is another that I hold in high regard. Comic strips: The Fusco Brothers just flat-out makes me laugh…sometimes even before I read it. I love what Samuli Lintula is doing with Dark Side of the Horse. The dry humor is right up my alley and he’s a great artist. He was a Sherpa-mate of mine and we really enjoy supporting each other. Dave Coverly, who does Speed Bump, is another cartoonist I admire. And I just started to get into Pearls Before Swine by Stephan Pastis. I’m really enjoying his new app, seeing the early Pearls and listening to his take on them. I love EEK! by Scott Nickel, The Norm by Michael Jantze, Cul de Sac by Richard Thompson – there are just so many. The industry is pretty robust right now with high quality comics.

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And what makes a good comic?  Mojo. It either has it or it doesn’t. What is “it”? “It” is everything that goes into the comic: the writing style, the art style, the direction, the rhythm, the characters, the colors, does it make you laugh, does it make you want to read more, are other people digging it, does it cut through the clutter and grab you, etc… If it doesn’t affect the reader in some way, shape or form, it’s invisible —which is obviously terrible for a comic.

David: What tools do you use to create your comic and what is your favorite, even if it’s something you use that is not involved directly with “Long Story Short”?

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Daniel: I use  a Hunt #22 extra fine for drawing, Hunt 107 for cross-hatching, Micron 0.5 for lettering, Strathmore 100 lb. Vellum in the pads, perfect bound sketch book for ideas, Mac lap top w/ Photoshop for coloring/digitizing and Doom 3 for some off-line ass-kicking, light table, scanner, bundles of copy paper, assorted pencils, 5 parts Caribou coffee grounds with 7 parts water and, of course, slippers. I love my slippers.

David: What do you consider to be the easiest and hardest part of making comics? 

Daniel: The easiest thing to do, for me, is sit down in my chair. I’m very good at that. I just kind of bend at the knees and fall back. I’ve never really had any trouble with that part of cartooning. The hardest part is coming up with good(funny) ideas that ultimately resonates with enough people which will, in turn, bring me obscene amounts of fame and fortune. That’s the hardest thing to do.

David: I believe your comics will be resonating with people for a long time. You can expect long time success. Thank you so much for being featured and I’m really looking forward to seeing what lies ahead for you.

And if you aren’t already familiar with Daniel and “Long Story Short” check out the links below to avail yourself to his amazing talent.

www.creators.com/comics/long-story-short.html

www.facebook.com/Daniel.S.Beyer

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Jim Buttitta: Says “Hello to the World”!

Posted on February 2, 2012 by David Hurley

Jim Buttitta is the talented creator of the funny comic “Hello,Cleveland!”.  I spoke with Jim about the life of a cartoonist and one thing we both mentioned is you really have to love making comics. It can be time consuming and often you are a one man show. Often you have to put other things aside to do this thing called comics. But what a reward to have the characters you’ve created come to life. Jim says he has been reading and drawing comics since before “Blondie” was a virgin, and how can you not love a man that says that! Jim has loveable comic characters, traditionally drawn and is also a part of the “Cartoonist Studio” contest, who asked him for some of his original artwork (what an honor). Now I’d love to share part of the conversation I had with “Hello,Cleveland’s” Jim Buttitta.

David: Hello Jim, “Hello Cleveland” is a fantastic comic you create. Can you explain how the characters and comic come about?

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Jim: Thanks Dave. “Hello,Cleveland!” literally was born out of a doodle. Years ago, I had some minor success with a comic strip called “Gizmo” which was picked up by the now-defunct American International Syndicate. After that, of course, real life got in the way and I thought my comic strip days were far behind me. In December 2009, as I was thrashing around trying to decide to do something else with my life, Mrs. Bogle piped up “What ever happened to that comic strip you used to do? Why don’t you give that a shot again?”  Why not indeed? So I set to work trying different characters when Everett Bogle, the lead character in “HC” suddenly came out of my pencil as I was simply doodling on my sons’ drawing table. Of course, he looks almost nothing like he does now, as the characters have grown to literally define themselves, but the seed was planted.

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Everettis joined by his younger brother, Riley. Riley was modeled after three people: my third youngest son, a little kid who lives down the street named, coincidentally, ‘Riley’, and Harpo Marx. Riley is one of those people who doesn’t say much, but the light behind his eyes tells you that he knows the secret of life…but he’s not telling.

And then there’s Newt. Newt is actually a real lizard who lives in an aquarium inEveretts’ room, andEveretts’ head. Usually whenEveretthas no one else to talk to, that’s’ when he talks to Newt…and Newt talks back.

David: What are the tools you use to create your comics, and what are your favorites to use?

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Jim: I went through quite a number of tools before settling on the equipment I use now, which is about as low-tech as you can get. I use a regular no.2 pencil to sketch out the idea on Canson Comic Strip Boards (Plug no.1). When I like the composition of the strip, I go over it with a blue pencil. Then I ink it and detail it with several different sizes of Pigma Micron Pens (Plug no.2) that’s about it. No high- falluting computer art for me….

David: What can we expect to see on the horizon for “Hello Cleveland” and what are some of your goals and plans?

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Jim: On the immediate horizon is the Cartoonist Studio Contest starting Feb 6, 2012. I am Contestant #294. And, like Newt Gingrich and Ron Paul, I’m going to need all the help I can get, so vote and vote often. After that, the goal I have, as do most of the other website cartoonists I suppose, is to get noticed and get syndicated in a rapidly dwindling newspaper world. While waiting for that to happen, I have developed a loyal fan base that I continue to draw for. I have an obligation to them and to myself to improve and progress with my strip. And besides, it’s an artistic outlet for me. As long as someone continues to read and laugh, that’s good enough for me.

David: What things grab your attention and make a good comic in your opinion?

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Jim: To me, the first thing that makes a good comic is the artwork. It has to grab your attention. You have to WANT to look at it. Composition is everything. It has to appeal to the eye first. It has to stand out from the crowd. I am constantly amazed at some syndicated comic strips that look like the cartoonists’ five year old kid drew it and yet it’s in the newspaper.

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A strip must also have something out of the ordinary to offer the reader. I like humor that is slightly off kilter that sometimes makes you have to think about it first before you get the joke. A joke that you don’t get at first, but then wake up in the middle of the night laughing because NOW you get it. But above all, it has to be FUNNY. People read comics to LAUGH.

And good writing is important. A good joke has to have a certain rhythm to it. The wrong word or phrase will destroy a punch line faster than a Kardashian marriage. The same can be said for a strip without dialogue. It also has to have its’ own rhythm to it or the joke gets lost.

David: What’s your favorite thing about being a cartoonist?

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Jim: My favorite thing about being a cartoonist is the solitude, the quiet. Many cartoonists will tell the same thing. Out in the real world, most of the time it doesn’t make much sense. But when you’re sitting at that board, everything you put on that paper is you. No one else. It’s YOUR thoughts, YOUR ideas, and YOUR artwork. It’s you sitting at that board thinking

“What do I want to tell the world today?”  And then when you get feedback from the readers, or when they hit that “Like” button, that makes it all worthwhile.

David: Thank you Jim, I truly appreciate you talking and sharing with me about your comic “Hello, Cleveland”. I love your style and look forward to seeing what comes next. And good luck with the Cartoonist Studio and all the future holds for you. 

Check out more of Jim Buttitta and “Hello, Cleveland” at: 

www.hellocleveland.biz

www.thecartooniststudio.com/Contestant/294/Charles-Bogle

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Nate Fakes and the “Break of Day”

Posted on January 26, 2012 by David Hurley

Nate Fakes is a very humorous and talented cartoonist. His comic “Break of Day” brings me a laugh every time I see it. Nate has been an intern and freelance writer/cartoonist for Mad Magazine and has a line of Christmas Cards in the works. I asked Nate if I could feature him at “Don’t Pick the Flowers” blog and he said yes, so I called him up and what a pleasure it was to speak with him. Not only is it great to talk with another cartoonist, but even greater to see how down to earth Nate is, and someone I call a friend. I asked Nate some questions and here is what he had to say. 

David: What do you consider the greatest thing about being a cartoonist and what is your favorite thing about making comics? Do you have a favorite part of putting a comic together?

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Being a cartoonist has its perks.  There are a lot of things that are ‘great’ about it, but in general, my favorite part is the freedom I get from the job.  I have freedom to take the work and do it from almost anywhere, I can write/draw about what comes to mind and I like the fact that I don’t really have a boss breathing down my neck.  So, yes – the freedom is great.  I’ve never been one to have a structured work environment.  It’s just not my cup o’ tea (although in my case, it would be coffee since I’m not much of a tea drinker).

As for having a favorite part of putting a comic together, definitely the best moment is when it’s finished.  It’s real WORK writing and drawing.  A lot of people don’t look at it as a job, but it is.  It’s not easy to sit for hours and hours trying to come up with a funny concept.  And the drawing can get tricky as well.  I’m constantly pulling up pictures from books or the internet to get a visual on whatever it is I’m trying to accomplish with my art.  I like to double-check my work.  You never know what little detail I could have forgot, so I look into almost everything.  And though its work, I still love it.  But, when I have that completed written, drawn and colored comic in front of me, and I can see how it turned out – that’s the best part.  I know it’s done, it’s good and I can send it off out into the world.  From there, it’s on its own.

David: Do you have a set schedule working on your comics, a day in the life scenario where you come up with the ideas and then put everything together? Wake up, put the coffee on and then start sketching away?

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I actually do have a pretty steady schedule that I keep.  Generally, what I do is wake up and first come up with my daily grind.  I’ll write it all out on paper.  Like, for example, I’ll put down something like:  1. Write 2.  Draw two comics 3. Send out queries 4.  Lunch 5.  Color 6.  Write.  Anyhow, you get the idea.  Most of my day is like that.  And yes, the coffee is on when I begin to write.  It’s amazing how much that stuff opens up the senses.  I use that (coffee) as a writing tool, actually.

My main focus out of anything else is the writing.  Writing is by far the most important element.  Every cartoonist will tell you something different, but I believe that comics need to be 80% to 20%.  80% of a cartoon depends on its writing quality, therefore being the most important part.  The rest is the drawing and putting it all together.  A bad drawing can be an excellent comic if the writing is good.  However, not so much the other way around.  I do really try to put a lot into my drawing though.  For me that’s an important part.  The trend nowadays though in the business of cartooning is the writing though.  It used to be about a 50/50 for writing/drawing but not now.  At least that’s my observations.  I don’t have any stats or facts to back that up.

David: What are the things that bring you inspiration when you are coming up with the gags for “Break of Day”?

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I’m not sure why I’m good at my profession and where the stuff comes from.  Honestly, it just happens.  A lot of my work involves animal cartoons and things I don’t have a clue about.  Yet, somehow I put it all together and come up with an idea.  It’s a mystery to me, but I guess I’ve been able to do that sort of thing my whole life, so it’s just natural.  I’m guessing it comes from observations in life in just a general matter.  Like, when I go for a walk, I pay attention to little things; like what a squirrel is doing or the guy in the Pinto with his music blaring – things like that.  And in my head, it all connects and leads to a comic about a naked penguin or a groom smoking a cigarette during the lighting of a unity candle.  Weird, I know.  But life in general is probably my biggest inspiration.  That being said, looking at great cartoonist and their work inspires me as well.  When I see a cartoonist “making it” and doing well, it’s a huge motivating factor for me and inspiring.  “There is hope!” I’ll say to myself.  Even in this digital age, there is hope for us starving cartoonist.  That’s nice to see.

David: Who are some of your favorite cartoonists and greatest influences?

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My favorites.  Well, that’s hard to figure out.  There are a lot of cartoonists I see things in that I like, and so there are quite a few of them out there.  My all-time favorite cartoonist though has to be people of the likes of Charles Addams, Gary Larson, Bill Watterson and Roy Doty.  I really enjoy Edward Gorey as well, although he was definitely an illustrator.  I don’t think he was really considered a cartoonist, but his drawings were great.

As for influences, a lot of them aren’t cartoonist.  They were musicians.  Once again, here’s where the freedom part comes into play.  I grew up seeing musical talent, and I observed all the freedom they had in their profession.  Well, I’m not exactly a musical prodigy, so cartooning was the direction I took.  But still, I like the fact that a musician can do his/her work almost anywhere and have their way about what they do.  So, I have a lot of influences in that department, everyone from Amadeus to Jim Morrison.  It’s a broad range.

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David: What are the artistic tools you work with and what’s your favorite?

I’m old fashioned.  I use the old school way of dip pen, India ink, Bristol board (QUALITY Bristol Board) and a sturdy drawing table.  I’ve never used a tablet.  I DO however color most everything in Photoshop after scanning it all in.  But, I like using ink to draw.  There are quite a few nibs I use for my pen, and I won’t bore you with the details of them, but that’s how I get it done.

David: You’ve worked with Mad Magazine, two comic strips plus writing, what was that like? 

I’ve never been actually employed with MAD – just an intern and freelancer.

Being an intern there was a MADdening experience.  It was extremely awesome to meet all the “Usual Gang of Idiots” that run the show in their office on Broadway in New York City.  To live and work in the Big Apple – I loved it.  In fact, I loved it so much I didn’t want to leave.  And that’s where I would have done things different.  I was so determined to STAY that I kind of focused on that instead of just enjoying it more.  I was more worried about “making it” there.  I wish I would have just pictured it as an internship and leave it at that.  I probably wouldn’t have been as tense and could have lightened up more.  But, all that being said, it was truly an experience that I don’t regret at all and am grateful I had the chance to do.

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Now, as for getting into the magazine – it’s tough!  I wish I could say that I was a Sergio, Jaffee or Richmond that are in practically every issue, but I’m not.  I’m very hit-or-miss with my work.  I still haven’t figured out the key to getting in there consistently.  But, when I do make the pages, it’s very rewarding.  I grew up with MAD, so to be part of that is unreal.  The editors there are a good group of guys and fun.

And the work that I’ve done there has been mostly writing.  However, I finally got two features in the magazine as well:  My Wife the Turtle and Twisted Toaster Tales.  My Wife the Turtle is about this really weird guy who is married to – well – a turtle.  The turtle doesn’t talk or anything like that, so it puts him in awkward situations when he’s with the general public.  Twisted Toaster Tales is about a toaster that – for no apparent reason – wants to kill this kid.  The kid is naive at first, but is quickly catching on that the toaster wants him dead.

David: I hear you will also be creating Christmas Cards, can you tell me more about that project?

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In 2012, that’s my newest and biggest endeavor that I’m excited about.  It’s not just Christmas cards, but all different kinds for every holiday and event (although yes, at this point in time I’ve been working on a lot of Christmas cards for next season – usually work about a year in advance).  It’s new territory, but what I really like about it is there is always a market for them.  I’m not saying there will never be a bigger market for comics (I’m very optimistic), but as we all know, right now newspapers aren’t doing too well, so syndicated cartoons is not exactly thriving.  And I’m sure with all the e-cards and things, card market might be in a slump as well. However, I’m sure there will always be a want and need for a personalized card to have and to hold (not online).  It’s rewarding as well to make people laugh in a given moment like a holiday or other special event.  So, I’m really diving into the card market at full speed and have a current company I’m working with a few other solid ones that are coming along.  I wish I would have started with the card market sooner.  At any rate, they will all start on shelves later this year.

David: It sounds fantastic to me, everyone loves a card! I personally like having the “real thing” a tangible item, and can imagine you will have great success with it.

Nate is has been a true pleasure hearing about your life and comics. I’m a big fan of “Break of Day” and wish you the very best with everything the future has in store for you. I can’t wait to see what’s next!

Here are some links to find out more about “Break of Day” and Nate Fakes: 

www.gocomics.com/break-of-day

natefakes.wordpress.com

www.facebook.com/breakofdaycomic

twitter.com/#!/cartoonistfakes

 

 

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Ronald AG Grant: RAGG

Posted on January 19, 2012 by David Hurley

Ronald AG Grant is the creator of a very unique comic strip based on the life of a loaf of bread named “Benjamin Breadman”. Ronald, also known as “RAGG” is a self taught cartoonist with a genuine sense of humor. His main goal is to create a comic strip he’s never seen before with integrity. I want to introduce to you a man who wants to make a loaf of bread the funniest comic strip you have ever seen. 

 

David: Hello Ronald, it’s a pleasure to be featuring you and your comic “Benjamin Breadman”. How did the idea for “Benjamin Breadman” come about?

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Ronald: At the time I was looking to create a new strip. I’ve created a strip of a dog with super powers. I didn’t have any peace about it. Then I created a dog and cat strip. Not original to me. Then I created another strip about a little boy with super powers but I just didn’t feel that it was original enough. I just didn’t want to do anything that was already out there. Originality is important to me. Well, the idea for BB was inspired by a little book title called “Our daily bread.” I’ve always enjoyed the designs of these amazing books of encouragement. One day, I stared at the book cover and I heard a voice inside me say “why don’t you do something about bread.” I thought to myself, “bread”?! I thought, Wow. Nobody has ever done a comic strip or panel, featuring “bread”! That I have never seen. So I got out my pad and pencil and began sketching. Two, three drawings, I started to chuckle. And Benjamin Breadman was born. I thought to myself, I’ve got something here and began to thank God. I was pumping out two weeks of strips a day. And the rest is history.

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David: Tell me more about how you got started into comics and when did you decide this was the direction you wanted to take with your life?

Ronald: I’ve discovered my art talent in third grade. My brothers and I would get up early Saturday morning and watch cartoons. And when the shows were over, we got the ol’ notebook paper and drew our own comics of super beings and cartoons. As we collected comic books and studied them. I remembered I used to collected, my granddad’s news paper funnies and drew them. And I got the biggest praise from my grandmother and have been drawing ever since.

David: What is the creative process you go through to come up with your comic and what are the artist tools you use when creating your work?

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Ronald: The process…hmmm, well, I see the characters in my head, animated as if it’s already a cartoon show and I know each of the characters personality. So honestly, they help me with the process. And all I do is take the funny image and I quickly draw out.

My tools of the trades are: # 1 Series 7 Winsor-Newton sable brush, kuretake brush pens, and Radiograph Koh-I-Noor pens. And what I use to draw on is Strathmore Bristol broads, 400 or 500 Series acid free.

David: Who are some of your favorite cartoonist and have inspired you in your own art?

Ronald: Let see: Charles M. Schulz (Peanuts), Geo Gately (Heathcliff the cat), Russell Myers (Broom Hilda), Jonny Heart (BC), Dean Young (Blondie), Bill Watterson (Calvin & Hobbs), Bil Keane (Family Circle), Jim Unger (Herman), Jim Davis (Garfield), Kirkman & Scott (Baby Blues), Mark Tatulli (Lio), and Jeff Smith (Bone). Plus, Warner Bros, Artists Cartoons, Hanna Barbera, Peyo (Smurfs).

Click on image to enlarge

David: What is the greatest legacy you feel you could leave behind with your work?

Ronald: To let folks know that my gifts are from God with a big “G”. Because, I have never had a lesson in my life, I want to show that I have fun with my work. And to show my cartoon characters have life, integrity, attitude and expression. Also that it made us all feel good and smile.

David: Ronald your comic has put a smile on my face. I can’t wait to see more of Benjamin Breadman and your fun characters. I wish you the best as you continue on making comics.

Check out more of RAGG at:

breadmancomics.blogspot.com

www.facebook.com/Ronaldaggrant

twitter.com/RonaldAGGrant

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