Zitat des Tages über Karikaturist / Cartoonist:
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 was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
As a cartoonist, I am not interested in defending the dominant, the powerful, the well-resourced and the well-armed because such groups are usually not in need of advocacy, moral support or sympathetic understanding; they have already organised sufficient publicity for themselves and prosecute their points of view with great efficiency.
I really do have a self-censorship problem, which isn't the way you should be if you're a cartoonist.
I never really thought of myself as an Asian-American cartoonist, any more than I thought of myself as a cartoonist who wears glasses.
I felt so painfully isolated that I vowed I would get revenge on the world by becoming a famous cartoonist.
I general don't color my stuff - I'm pretty horrible with color. Usually, I'll get one of my cartoonist friends to help me out.
Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.
Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
When I was a kid, I could draw, and my ambition was to be a cartoonist. I wanted to draw comics. But I also liked newspaper comics.
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.
At 16, I was drawing cartoons, and I wanted to carry on being a cartoonist.
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.
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 never saw myself so much as an actor. I wanted to be a cartoonist like Charles M. Schulz and create my own world and be able to have a studio at home and not commute and be able to be with my family.
People often ask me about my upbringing, and if there was anything particular about it that made me become a cartoonist.
I see the cartoonist as contributing to the content, being critical, because we do poke holes in some of the dialogue and find new ways of seeing things.
If you're a balanced cartoonist, you're not a cartoonist. You definitely have to have a bias.
I decided I was going to tell these stories. I went around and met Crumb. He was the cartoonist. I started realizing comics weren't just kid stuff.
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.
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.
James Thurber was an inspiration because his drawings were so primitive. I am self-taught - I didn't go to art school - so I thought when I started doing them, 'If James Thurber can be a cartoonist, I can,' because his stuff is very raw.
I was unable to sleep and I would stay up and draw these little cartoons. Then a friend showed them around. Before I knew it I was a cartoonist.
If you're a kid wanting to be a cartoonist today, and you're looking at Family Guy, you don't have to aim very high.
I started on the fringes of journalism as a cartoonist on The Daily Mail.
I wanted to be a cartoonist. I was one of those kids who sat around and drew in my room all the time.
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.
People still think of me as a cartoonist, but the only thing I lift a pen or pencil for these days is to sign a contract, a check, or an autograph.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
When I graduated, I sort of went from school to being a cartoonist, and I couldn't draw.
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.
When I first seriously decided to become a cartoonist would have been '99/2000, right before 9/11. I've been writing and illustrating stories in the world post-9/11 since then, watching the world change around me.
I wish my work would be recognized by a larger crowd of people as more art than be stuck with the cartoonist label for the rest of my life.
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.
The problem when you're a cartoonist and you go into the voting booth is that you have your choice of two guys - one would be best for your country, and one would be best for your business.