Top 44 Cartoonist Quotes

I started doing cartoons when I was about 21. I never thought I would be a cartoonist. It happened behind my back. I was always a painter and drawer.

I am principally an artist. I became a political cartoonist.

You can draw Family Guy when you’re 10 years old. You don’t have to get any better than that to become a professional cartoonist. The standards are extremely low.

I really wanted to be a newspaper cartoonist, but nobody liked my work. I didn’t have the control or flair that was necessary to create something that didn’t look childish.

My first ambition was to be an animator for Walt Disney. Then I wanted to be a magazine cartoonist.

There is a relationship between cartooning and people like Mir= and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.

It’s a strange thing to be a so-called alternative cartoonist, because in the early part of my career, I was really tethered to the superhero world.

I guess that if I was a normal cartoonist who did things properly, I’d think up the background information first and then come up with the story. Saying that, you’d think that I don’t really think through anything.

I don’t consider myself a cartoonist, because to me a cartoonist has a lot of technical ability to draw and such. However, I do consider myself to have a bit of a cartoonist character. I definitely am analyzing and satirizing pop culture and politics and whatever strikes my fancy.

I wanted to be a cartoonist, but there was no cartoon academy. So I enrolled in the Royal Danish Art Academy School of Architecture. But then I really got smitten by architecture.

Among politicians, I would say Sonia Gandhi is not exactly a cartoonist’s delight.

In college, I was a cartoonist at ‘The Daily Northwestern.’ So I draw myself. I was an animator. But basically, I went to Northwestern to major in English, wound up in college for two years. Studied animation there. Came to Disney. My first week at Disney was the week that ‘Star Wars’ came out.

I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.

Scott Adams is not only a world-famous cartoonist, he’s also a world-class failure. And he’s the first to admit it. In his new book, ‘How to Fail at Almost Everything and Still Win Big,’ the Dilbert creator explains how failure can lead to success if you develop the right skills to make the most of your mistakes.

People often ask me about my upbringing, and if there was anything particular about it that made me become a cartoonist.

I really do have a self-censorship problem, which isn’t the way you should be if you’re a cartoonist.

Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.

I’d rather be a cartoonist. I don’t want to be a publisher.

You can’t just count on becoming a syndicated cartoonist. I actually tried to calculate the odds once, and the best I could come up with is a 1-in-36,000 chance. And the odds of getting hit by lightning are 1 in 7,900 – which kind of shows how long those odds are.

My transition from wanting to be a cartoonist to wanting to be a writer may have come about through that friendly opposition, that even-handed pairing, of pictures and words.

I really love New York, but I have to say, the humidity during the summer is a nightmare for a cartoonist. Not only am I sweating in my studio, my bristol board is curling up, the drafting tape is peeling off the board, my Rapidograph pens bleed the minute I put them to paper… it’s a disaster.

Most success springs from an obstacle or failure. I became a cartoonist largely because I failed in my goal of becoming a successful executive.

I don’t think of myself as an illustrator. I think of myself as a cartoonist. I write the story with pictures – I don’t illustrate the story with the pictures.

Comic-book pages are vertical, and movie screens are relentlessly horizontal. But it’s all the same form. We use different tools, but we get the job done. I’m completely in love with CGI. It’s great for conveying a cartoonist’s sense of reality.

It seems so absurd to get really mad with a cartoonist over a comic strip. It’s sort of like getting in a fight with a circus clown outside your house. It’s not going to end well.

I would think a sense of the absurd is more important for a political cartoonist, because that could define things like a sense of hypocrisy or a sense of the things one has to be skeptical about.

I don’t think there’s any independent cartoonist whose stuff I don’t like or respect in at least some way or another. We’re all marginal laborers – we’re practically medical oddities – so I don’t see why we can’t all be nice to each other.

I tend to write my beginnings and endings first – as a cartoonist and storyteller, I couldn’t sit down every day if I didn’t know where the story was headed.

My mum was into pottery and embroidery, very artistic, and she knew some people from the college, which I think was how I got into it. My dad, who was a head-hunter, was also an incredible artist, and when he was very young, he was a really good cartoonist.

‘The Green Turtle’ was created in the 1940s by a cartoonist named Chu Hing, one of the first Asian Americans to work in the American comic book industry.

When I graduated, I sort of went from school to being a cartoonist, and I couldn’t draw.

As an editorial cartoonist now, I live for those moments of inspiration, and it is exhilarating to be inspired by a topic, have an opinion on the topic, come up with a good cartoon on the topic, and to draw it and get it in the paper the next day. That is what I live for.

It’s a secret, but when I decided to apply to ‘Shonen Magazine,’ it was already past the deadline, so I had no choice but to go with ‘Shonen Jump.’ My motivation for becoming a cartoonist was… to put it bluntly, the ¥100,000 prize money.

My father was a really sharp cartoonist and filmmaker. He used to tape-record the family surreptitiously, either while we were driving around or at dinner, and in 1963 he and I made up a story about a brother and a sister, Lisa and Matt, having an adventure out in the woods with animals.

I feel lucky I didn’t become that newspaper cartoonist I wanted to be because in the U.S. so many newspapers have suffered circulation declines, and some have folded. What’s fun about being an author is I reach a much bigger audience, and there is something special about launching a book you’ve penned.

I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I’m not a pure writer. I use words as the score for kinetic imagistic representations.

I knew I wanted to be some kind of artist from about 12. I met a neighbour who drew cartoons, and I had an idea I wanted to be a cartoonist – or something that involved Indian ink, at any rate.

For me personally, I get to be a cartoonist, because my comic would never survive in print. Maybe one in 100 people would like it, but online, I can gather that one percent all in one place.

Cartoonist was the weirdest name I finally let myself have. I would never say it. When I heard it I silently thought, what an awful word.

Cartooning at its best is a fine art. I’m a cartoonist who works in the medium of animation, which also allows me to paint my cartoons.

I’m a cartoonist. I write and draw comic books and graphic novels. I’m also a coder.

I’m sometimes a cartoonist, and there’s an audience for that, and I’m sometimes an illustrator, and there’s an audience for that.

I became a cartoonist because I’d sort of failed at everything else, really. I mean, it was by default.

One identity is as a television writer, which is very classically Southern California, but another of my personae is as a New Yorker cartoonist.