Top 40 Cartoonists Quotes

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!

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.

Well, there are better cartoonists now than there ever have been. I firmly believe that. There’s some amazing work being done.

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 was the founder of the ‘Cartoon Bank’ in the ’90s. I was interested in finding ways for cartoonists to supplement their incomes.

All cartoonists are geniuses, but Arnold Roth is especially so.

I’d love to see more equal representation of female and male cartoonists on the comics page.

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.

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.

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.

E.C. Segar, who created ‘Thimble Theatre’ and ‘Popeye,’ is one of my favorite cartoonists.

Carl Barks and Don Rosa are two of my favorite cartoonists ever.

Cartoonists’ dirty secret is that we tend to come up with stories that involve things that are really fun to draw.

We need more cartoonists to truly retire when they retire, and not run repeats.

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.

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 are untrained artists, while illustrators are more trained.

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.

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.

Alternative cartoonists have to rely on comic book stores to get their stuff in the hands of readers.

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.

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.

I never studied art, but taught myself to draw by imitating the New Yorker cartoonists of that day, instead of doing my homework.

Let’s not let cartoonists get involved in a war of any kind, except for a war against stupidity.

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!

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.

Cartooning is a wonderful career, and I’d like more women to get to have it. I can’t think of any reason why we won’t see more syndicated female cartoonists in the future.

There are a lot of really great cartoonists out there. It’s nice to be thought of as one of them.

There are two ways to look at my publishing career. One is that I’m a novelist churning out books, who is eight into a series; the other way is that I’m a cartoonist, just starting out. Most cartoonists have long careers: Charles Schulz drew Peanuts for 50 years.

I’m a better editorial cartoonist by default because so many editorial cartoonists out there are so awful.

Student cartoonists as well as professionals should always be careful that they’re not doing a cartoon that already has been done.

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.

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.

I always idealized the mainstream cartoonists and the packed schedule they worked under.

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.

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.

I feel like there are comic book artists who are comic book artists, and then there’s comic book artists who are cartoonists.

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.

Old cartoonists never retire, they just erase away.