: Comic Strip History - The Grawlix In times past, when I’ve covered words or phrases that originated in a comic strip, generally …
: Unexpected Comic Strip Creators - Charles Addams Charles Addams is best known as the creator of The Addams Family, a group of strange, monster movie …
: Unexpected Comic Strip Creators - Stan and Jan Berenstain Stan and Jan Berenstain (not Berenstein, and no we will not be discussing the Mandela Effect today) …
: Thornsby, December 5, 1974 Thornsby was a single panel comic that ran from 1973 to 1975. It seems to be a bit of an obscurity, …
: Tell It Like It Is, December 2, 1974 Ralph Dunagin was an editorial cartoonist for the Orlando Sentinel who also worked on a few …
: Henry, December 1, 1957 Henry is so ubiquitous when I’m searching through old newspapers for winter and Christmas …
: Cicero's Cat, December 5, 1965 Cicero’s Cat began as a topper strip to the venerable Mutt and Jeff. The character of Cicero …
: Herman, December 05 1953 Herman (still by Clyde Lamb and not by Jim Unger) is a comic strip I haven’t revisited in a …
: The Old Home Town, December 05, 1934 The Old Home Town seems to be a cross between a hillbilly strip like Li’l Abner or Snuffy …
: Scamp, December 2, 1967 Even though it was one of the lesser known Disney comic strips, Scamp ran for an impressive 33 …
: I was recently commissioned to draw an offline/banner image for the Twitch channel SaltCommittee, …
: 💬 Lynn Johnston on honesty and truth in storytelling, from Hogan's Alley 1, Fall 1994 LYNN JOHNSTON: I spoke to Garry Trudeau… He was very comforting, and he said, “If you want to …
: 💬 Lynn Johnston on the reader response to the Lawrence "coming out" storyline, from Hogan's Alley 1, Fall 1994 TOM HEINTJES: How is your mail running, now that a large part of sequence has run? LYNN JOHNSTON: At …
: 💬 Lynn Johnston on wanting her work to be meaningful, from Hogan's Alley 1, Fall 1994 LYNN JOHNSTON: …I never thought that I could do this. I never applied for this job. I never …
: 💬 Lynn Johnston on drawing as a child, from Hogan's Alley 1, Fall 1994 TOM HEINTJES: Did you devise any sort of escape mechanism for the life you had? LYNN JOHNSTON: I …
: 💬 Charles Schulz on comic strip character merchandising, from an address at the 1994 National Cartoonists Society convention, printed in Hogan's Alley 1, Fall 1994 “I don’t know Bill [Watterson]; I’ve never talked to him. I wrote a foreword for …
: 💬 Matt Groening on licensing and merchandising, from The Comics Journal 141, April 1991 GROENING: I respect Bill Watterson’s resistance to all the offers to exploit Calvin and …
: 💬 Walt Kelly on people misunderstanding his work, from The Comics Journal 140, January 1991 Kelly said people sometimes didn’t understand his work, even early on: “I remember being …
: 💬 Walt Kelly on George Herriman, from The Comics Journal 140, January 1991 FROM THE AUDIENCE: Walt, were you influenced by [George] Herriman at all; did you love his stuff? …
: 💬 Walt Kelly on political cartooning having to be weeks behind the news, from The Comics Journal 140, January 1991 KELLY:… We’re in a hell of a lot of trouble now. We have a built-in comic named Agnew …
: 💬 Lynda Barry on Jim Davis, from The Comics Journal 132, November 1989 “The guy that I will not eat my words about is Jim Davis, who I think ought to go straight to hell …
: 💬 Bill Watterson on licensing, from The Comics Journal 127, March 1989 “Basically, I’ve decided that licensing is inconsistent with what I’m trying to do with …
: 💬 Bill Watterson on what Hobbes really is, from The Comics Journal 127, March 1989 WATTERSON: Hobbes is really hard to define and, in a way, I’m reluctant to do it. I think …
: Happy labor dabor youtu.be/KBXsx1ZHg…
: 💬 Jules Feiffer on Gary Groth and others' criticisms of Will Eisner, from The Comics Journal 124, August 1988 [For context, Gary Groth had written an editorial in an earlier Comics Journal criticizing …
: 💬 Jules Feiffer on his and other cartoonists' view of comic strips as art, from The Comics Journal 124, August 1988 GROTH: Were your parents proud in any sense that you were a cartoonist, that you were working on an …
: 💬 Harvey Pekar on the potential of comics, from The Comics Journal 123, July 1988 “Comics is as good, as expressive, as versatile an artistic medium as any other, including the …
: 💬Katherine Collins on the troubles at Disney in the late 70s and 80s, from The Comics Journal 120, March 1988 “Ironically, of course, a year after this interview, trouble did in fact begin to brew at the …
: When you’re so lost you’ve even lost your sense of the direction of words. Nancy, by …
: 💬 Floyd Gottfredson on how he got the job drawing the Mickey Mouse strip, from The Comics Journal 120, March 1988 “So I went in to animation then and started training as an in-betweener, and the first 18 strips …
: 💬 Mort Walker on his inspiration for Gamin and Patches, from The Comics Journal 116, July 1987 “Actually Gamin in some ways is patterned after a kid I met in Naples, Italy, who took me for $15 …
: When your dog is well trained in one area but not in another. Louie, by Harry Hanan, from July 12, …
: 💬 Milt Caniff on depicting the military in Steve Canyon, from The Comics Journal 108, May 1986 SABA: I must say that 10 years ago, you and I would have probably been on very different sides of …
: 💬 Milt Caniff on Al Capp, creator of Li’l Abner, from The Comics Journal 108, May 1986 “…although Capp and I were rivals, we were old friends. I even took over Colonel Gilfeather from …
: 💬 Milt Caniff on cliffhangers, from The Comics Journal 108, May 1986 “I do six novels a year. The difference is that there’s a carefully contrived umbilical …
: 💬 Milt Caniff on working as a cartoonist, from The Comics Journal 108, May 1986 CANIFF: …I’ve heard a cartoonist say this, and it always saddens me when I hear …
: For a unique vacation experience, visit Echo Canyon. Herman, by Clyde Lamb, from July 5, 1953.
: 💬 Milt Caniff on "shifting camera angles" in comics, from The Comics Journal 108, May 1986 CANIFF: …all the years that I’ve been at this thing, I’ve never drawn two panels the …
: When you somehow got roped into hosting a party you didn’t want to attend. Just Nuts (also …
: 💬 Katherine Collins on studying comics history, from The Comics Journal 108, May 1986 I don’t suppose that in fact there really is any prerequisite that you have to know anything …
: When your facial hair choices frighten children. Kitty Higgins, the topper to Moon Mullins by Frank …
: 💬 Katherine Collins on Caniff's view of his own work, from The Comics Journal 108, May 1986 “I think it is a very interesting, enlightening, and complete interview, and gives a very good …
: Catching strays from passing children. Henry, by Carl Anderson, from July 22, 1954 <img …
: 💬 Hal Foster on the inspiration for Prince Valiant characters, from The Comics Journal 102, September 1985 SABA: …what methods did you use to write the story? How did you settle what it was going to …
: 💬 Hal Foster on romance and family in Prince Valiant, from The Comics Journal 102, September 1985 Mrs. FOSTER: …Once or twice Sylvan Byck complained, because you showed Aleta pregnant, that …
: 💬 Hal Foster on his upbringing in Canada, from The Comics Journal 102, September 1985 SABA: …Do you feel that your upbringing in Canada has had any particular influence on the …
: When babies conspire against you. Smitty, by Walter Berndt, from July 23, 1939.
: 💬 Hal Foster on the expressiveness of hands, from The Comics Journal 102, September 1985 FOSTER: …Now, if you’ll notice any other illustrator, any other illustration that you …
: I think what we have here is a failure to communicate. Little Debbie, by Cecil Jensen, from June 4, …
: 💬 Rick Marschall on comic strip reprint books, from The Comics Journal 100, July 1985 “…Complete works of great writers like Dickens and Twain are in every library, and every home …
: When you want to do crimes but you have to do it legit. “Life’s Darkest Moment,” …
: 💬 Mort Walker on the importance of sight gags, from The Comics Journal 95, February 1985 “An editor told me a long time ago,” Walker writes, “that if you could cover up …
: 💬 Mort Walker on humor, from The Comics Journal 95, February 1985 Writing in his 1975 book, Backstage at the Strips (still probably the best book around about the …
: 💬 Will Eisner on lighting, from The Comics Journal 89, May 1984 “…Lighting is very revealing. Lighting, for an artist, generally depends on how he sees something, …
: 💬 Max Allan Collins on learning comic strip history, from The Comics Journal 77, November 1982 “I think that there are a hell of a lot of fans that are very ignorant about comics, where the …
: 💬 Will Eisner on Humor vs. Tragedy, from The Comics Journal 47, July 1979 “…I think satire is a form of rage, an expression perhaps of anger. There is kindly humor and there …
: 💬 Will Eisner on how an artist's style changes over time, from The Comics Journal 47, July 1979 “…we all seem to go that route. Michelangelo too - in his later years he began to have a looser …
: 💬 Will Eisner on the phrase "sequential art”, from The Comics Journal 47, July 1979 “I must say that I am still the same Will Eisner of 1942-43, trying to expand the horizons of my …
: Every time I hear somebody say “according to Google AI” all I hear is “according …
: Controversial opinion that I had no idea was controversial until I shared it in a forum where I assumed a majority of people agreed with me of the week Controversial opinion that I had no idea was controversial until I shared it in a forum where I …
: Art cannot be separated from the artist, but they don't necessarily need to be I have said in the past, very publicly, on the internet, that art and artist should be separated, …
: The news of the death of newspaper comics has been (slightly) exaggerated People praising certain webcomics by saying they’re “just like old newspaper …
: Better to light a candle than curse the darkness Better to excitedly talk about how great newspaper comics are and how they’ve influenced …
: With how the newspaper comic landscape is now, it’s really hard to explain to rising …
: One of the things you realize when you study the history of a thing is how much longer it has …
: 💬 Milt Caniff on the social significance of comic strips, from TCJ 108, May 1986 “…It may end being socially significant, or accepted, or whatever, but at the time, almost without …