Tauhid Bondia’s ‘Crabgrass’ – a trip back to the ’80s

Cartoonist Tauhid Bondia

One of my favorite online comic strips is coming to newspapers soon. “Crabgrass” by Tauhid Bondia, starts syndication in daily newspapers in June. And while it’s on hiatus until then, you can catch up by following the previous strips at Tauhid’s patrion page here: patreon.com/7auhid or at GoComics.com

Crabgrass follows the adventures of two best friends, Miles and Kevin, in the 1980s. There are no cell phones or electronics (well, maybe the beginning of video games), so it’s all about the boys’ imaginations and outdoor play. I had a chance to ask Tauhid my ten, “10 With Tom” questions:

TOM: Tell me about Kevin and Miles. Are they both a compilation of you at that age?

TAUHID: Kind of. They were initially based off of myself and my best friend growing up. But it didn’t take long for them to develop their own unique personalities. That said, the spirit of the strip is still grounded very much in my own childhood.

TOM: You grew up in Kentucky, is this where they live?

TAUHID: Yes it is. The street they live on is based on Greenway Drive the street I grew up in. It’s rarely a material element of the street but it’s an interesting bit of trivia.

Crabgrass courtesy GoComics.com

TOM: The stories area always elaborate, how far ahead do you work?

TAUHID: I usually keep a couple of months of strips in the bank, but I write my stories with woefully little planning. I’m working on that though.

TOM: Tell us about your studio or workspace. Do you work digitally or with pen and paper?

TAUHID: I do everything digitally. I don’t think there is a pen or pencil anywhere in my studio. I currently work on a Cintiq Pro hooked to an iMac. But I also have an iPad Pro for when I want to be less tethered.

Crabgrass courtesy GoComics.com

TOM: When did the first big break come that made you feel you were really a professional?

TAUHID: That would have to be when Crabgrass was selected for development by Andrews McMeel. I’d been making comics for years already but my idea of a pro was always based on the syndicated model. So it really felt like I’d become official.

TOM: I suppose the newspapers will bring you many new readers, but now, here do you get the most readers – Instagram, Facebook, etc.?

TAUHID: Instagram by far. That’s kind of my home base. I’ve got a healthy following on Gocomics.com which is steadily growing but instagram is where almost all of my Patreon supporters come from and the majority of my daily likes and shares. I owe those readers a lot.

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

TAUHID: My earliest memory was of copying a picture of Spiderman from my bed sheets when I was 4 or 5. I remember really concentrating and seeing if I could copy it exactly. I apparently got it close enough to impress my mother which I honestly believe sent me down the path I’m on.

TOM: What song would be the theme of your life?

TAUHID: Lately I’ve really learned the value of supporting and believing in yourself the same way you do those you love. So Im going to say “The Man” by Aloe Blacc.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

TAUHID: I’ve always been a fan of Joe Madureira. I’d give a lot to see him draw me.

TOM: Who is your favorite super hero?

TAUHID: Gotta be Spiderman all day. I read a book where its revealed that he’s always holding back. That pound for pound he’s actually one of the physically strongest heroes but he never lets loose because he could hurt someone. Even when fighting the bad guys. I love that.

Thanks, Tauhid! Some social media sites where you can also follow Tauhid and Crabgrass are here:
Instagram: instagram.com/crabgrasscomic
Twitter: twitter.com/Crabgrass_Comic
Facebook: facebook.com/crabgrassthecomic

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Stephan Pastis; Pearls Before Swine

I got the chance to ask Stephan Pastis, creator of the comic strip, Pearls Before Swine, my Ten With Tom questions. Stephan has one of the most popular comic strips around, his tipping point was when Scott Adams, creator of the Dilbert comic strip, noticed his work and mentioned it in a blog post. The rest is history. His online readership went through the roof overnight.

He won the 2015 Reuben Award for best newspaper comic strip.

Do people mistake you for Seth Macfarlane?

I’ve heard that before, but the one I hear more is Robert Downey, Jr.  I even had a restaurant owner in Dublin, Ireland tell me what an honor it was to have Robert Downey, Jr. in her restaurant. I told her that I appreciated it, but that I didn’t like to be disturbed while dining.

Why do you create your comics seven months in advance, why so far ahead?
I’m anal retentive.  I need to relax.

Are you recognized on the street?
Almost never. Except as Robert Downey Jr. in Dublin.

What are a few of your favorite classic newspaper comics from your childhood?

Far Side
Calvin and Hobbes
Peanuts
Bloom County

Stephan at NY Comic Con, 2019

Flintstones or Scooby Do?
Scooby. There’s always someone trying to scare away prospective house buyers by filling it with fake ghosts and/or monsters. Knowing that the ghost thing is a sham, I could probably get a great deal on real estate.

Which comic strip would you like to crawl into and spend the day?
Krazy Kat. Lots of peyote and throwing bricks at others.

Dick Tracy or Little Orphan Annie?
It wouldn’t be Annie. Her lack of pupils would be disturbing, particularly if you fell in love. You could never look into her eyes.

What section of the printed daily newspaper today should be eliminated to add more comics?
Many of the comics.

Without looking, what color is Olive Oyl’s dress?
Top half of her is red. Bottom half of her is black.  Both halves are probably stained by spinach.

Do you think you’ll ever go digital in creating Pearls Before Swine? Why?
No. Too lazy to learn. Plus, it doesn’t seem like something Robert Downey Jr. would do.

Thank you Stephan!

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Jason Chatfield; cartoonists are his favorite people

Jason Chatfield and Ginger Meggs

I interviewed one of my favorite cartoonists, Jason Chatfield, who incidentally helped me immensely with my own cartooning, as I live by one of his statements: “Don’t curate your art to what gets likes. Curate it to what you like.” I live (and create) by that now.

I was interested in Jason’s schedule, technique and so much of his cartoons and comics work and work ethic.

TOM: You seem to do so much, TV, New Yorker cartoonist, daily comic strip (Ginger Meggs) and President of the National Cartoonists’ Society (NCS). What is the schedule like, for instance, when do you do the comic strip? When do you do New Yorker cartoons?

JASON: I have a pretty regular schedule — I work from a calendar instead of a to-do list — I tend to do 6 daily strips at-a-time, then the Sundays (weekend paper strips) on separate days.

I pitch a batch of 10 New Yorker cartoons each Tuesday; some roughs and some finished, and some of them re-submissions with new captions. 99% are rejected. Those are done in a 10-step process that I outline here.

The TV work is usually just a one or two-day shoot somewhere, then the show or commercial runs for years, so that’s not very time-heavy, and my NCS work is just constantly streaming in every day. Some days there is a lot to do, other days less so. Cartoonists are my favorite people, but trying to organize them can be like herding cats. 

It sounds like a lot, but I manage to sleep somewhere in there and take weekends off with my wife and pup.

TOM: I see that Ginger Meggs recently turned 100 — that’s quite a weight to bear — taking over such a well-known strip. How did that come about? How were you chosen to do this?

JASON: When I was a 23 year-old editorial cartoonist in my hometown of Perth, the fourth cartoonist on the strip, James Kemsley, asked me to take it over. That was few days before he died of ALS. He was a dear friend and mentor so it was a very bittersweet honor to inherit. I’d give up the strip tomorrow it it meant having Kems back; he was an impressive guy, always way ahead of his time and always helping other cartoonists. I’m glad I could carry the baton and keep Ginger going past 100 years. (Details on the centenary are at gingermeggs.com )

TOM: As President of the National Cartoonists Society, what is your take on webcomics or comics only published online? They seem to be the most read today, yet I have heard that cartoonists have a problem joining the society.

JASON: We have many webcomic cartoonists in the NCS, and under past President Tom Richmond’s tenure (around 2010/11) the NCS introduced two webcomic categories into our Divisional Reuben awards. (Long form and Short form).

Webcomics are a rich and diverse artform we’re really proud to promote — comics in newspapers are only a fraction of the make-up of NCS membership. Our biggest numbers of entries for the 2020 Reuben awards were for both webcomics categories. 

I think I read about 70% of my favorite comics online (the rest in magazines and printed book collections.)

TOM: Do you work digitally or with pen and paper?

JASON: I use both. I learned to draw traditionally before I learned to draw digitally, so the transition was very natural. I use a Wacom Cintiq with an Ergo Arm for most of my work, but I often spin around to my drawing board and use a Hunt 101 Imperial nib on my dip pen for a lot of my New Yorker finishes. (Mainly because people request to purchase the originals… And I like to get inky fingers so my wife thinks I’m doing actual work.)

TOM: What does your studio, workspace look like?

JASON: It changes all the time. I’ve moved so many times the past 15 years my studio has been every kind of room imaginable. You can get a glimpse of my current studio (June 2021) in this video just shot by Wacom for the production of a series of coins I designed for the Royal Australian Mint. They cut the part where my dog sits under my desk while I’m working and farts. Almost constantly.

TOM: What comics/cartoonists influenced you?

JASON: I was a big fan of MAD growing up, so all the Usual Gang of Idiots were my teachers — Sergio Aragonés was my favorite for his pantomime marginals, but Mort Drucker’s hand gestures and caricatured likenesses, Jack Davis’ movement, brushwork and shoes, Al Jaffee’s inventiveness (and snark) all contributed to my weird brain. And then the “newer” guys like Tom RichmondMark Frederickson and a slew of other talented idiots followed suit.

For comic strips, I loved Calvin & Hobbes and later, Cul de Sac.

TOM: If you could crawl into any strip or panel for the day, other than your own, which would it be, and why?

JASON: Cul de Sac. I would want to sit down and just pick the brain of Alice Otterloop. What a brilliant mind Richard Thompson had, to bring her into this universe. Wildly inventive, funny and smart character writing.

TOM: At what point did you realize you were famous?

JASON: Ha! I don’t think that’s true. I know it sounds silly considering all the things I do being so public-facing, but I now totally get people having a pseudonym. Fame isn’t something I aspire to — I just like to do my work and hopefully have people enjoy reading it. I think ‘actual’ fame comes with more downsides than upsides… unless we’re talking about my local diner naming a roast beef sandwich after me. That’s all upside. (And topside).

TOM: What song would be the theme of your life?

JASON: The theme to Curb Your Enthusiasm

TOM: What famous artist, dead or alive, would you want to paint your portrait?

JASON: Richard Thompson. Without question. 
One can dream.

TOM: Thanks, Jason! I learned a lot!

My daily cartoon is here.

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Ginger Meggs celebrates 100!

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We’re ‘off the leash’ with cartoonist Rupert Fawcett

One of my favorite comics is “Off the Leash” by London-based cartoonist Rupert Fawcett. I first saw the comic on Facebook, where Rupert has almost 1 million followers. The comic can also be seen on Instagram and on its own website. But Rupert is also known for other comics work including Fred, a single panel comic which, like Off the Leash, has has been published all over from newspapers, to books and greeting cards.

TOM: Regarding “Off the Leash,” You seem to get into the dogs’ heads, do you study them? Tell me about your own pets.

RUPERT: I’ve never consciously studied dogs but I am a watcher by nature, a people watcher and I suppose, a dog watcher too. I’m someone who is never phased by delays at airports or anywhere else as I know I will be happily entertained watching the people around me, although I have to be careful not to get caught staring too intensely at anyone. We currently have a two year old whippet and two Burmese cats.

TOM: How often do you publish Off the Leash? Do you draw up a bunch at one time or post them as they are completed?

RUPERT: I had a very productive three years of producing Off the Leash cartoons at the beginning but as I have other commitments I now only draw new ones sporadically. As soon as I have finished one I post it which is the great thing about social media for a cartoonist, it is so instant, from the drawing board to the worldwide audience in seconds!

TOM: I totally agree with that, I almost feel social media was made for art and cartooning. I noticed you work in black and white, why that and not color?

RUPERT: Black and white line gives enough visual information for a cartoon. Coloring would be time consuming and add nothing to the joke.

TOM: I like the clean look of your black and white work, too. Who are your cartooning influences?

RUPERT: don’t have any specific ones but I’m probably influenced by everything I see.

TOM: What medium do you use? Digital? Pen and ink?

RUPERT: I use old fashioned ink pens – I’m a bit of a technophobe.

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

RUPERT: As a boy growing up in the sixties I used to draw footballers quite a lot and soldiers. The comics I read as a child featured regular strips based on the war which was still very recent history. I also used to create my own strange characters. I used to get very absorbed and doodle for hours.

TOM: How did you begin your career as a cartoonist? When did you start cartooning? Tell me about Fred

RUPERT: Speaking of strange characters! I created Fred in 1989 and received over 80 rejection letters from publishers and newspapers. But when I had the greeting card range published by Paperlink it suddenly took off and became a big thing. Fred kept me fully occupied for about twelve years.

Fred was a combination of surrealism and suburban Englishness.

TOM: Tell us about your studio or workspace.

RUPERT: I work in a fairly small room at home in South West London, it’s my ‘garden shed’ and i have to be prised out of it by my family sometimes. I’m happiest when I’m drawing and in my private dreamworld, just as I was at six years old.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

RUPERT: Lucien Freud (with my clothes on)

TOM: What comics/cartoons do you read/follow today?

RUPERT: I probably don’t look at cartoons any more than anyone else but I always appreciate a good one. Gary Larson is brilliant.

TOM: Thanks, Rupert!

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Wallace the Brave is a little taste of classic comics from the past

Will Henry Wilson’s comic strip, “Wallace The Brave”  which is published at GoComics daily is now published in daily newspapers. It’s not only clever, but I love the drawing style. It reminds me a lot of Calvin and Hobbes and Cul de Sac. There’s not usually a gag each day, it’s more of a slice of life. I recently interviewed Will about Wallace the Brave.Will-Henry

Will Henry Wilson in his liquor store/studio.

TOM: You have two comic strips, Wallace The Brave and Ordinary Bill. Ordinary Bill was simple line drawing and black and white, Wallace is a masterpiece of art and color. How did that come about? The change in look, I mean?

WILL: Ha, “masterpiece”… made me laugh. I created Ordinary Bill when I was in college. It was an incredibly limiting strip and my style and ideas were still developing. Throughout the years I was writing Ordinary Bill I felt it was important to keep the original look, even though my style developed. Eventually I ended Ordinary Bill and thought I’d start a new comic that better represented where I was. That’s where Wallace came from.

TOM: How far ahead do you work before a comic is published?

WILL: Legitimate year, maybe more. I even have two years of unpublished Wallace Sunday strips….slacker.wallacethebrave

Wallace the Brave, courtesy GoComics

TOM: Do you draw digitally or the old fashioned way – pen and ink?

WILL: I’m a 32 year old dinosaur, it’s all pen, paper, ink and watercolor. I do color the comics digitally for the web, though…so yeah I’m hip.

TOM: Wallace is a “little maniac,” your words. Is he based on you?

WILL: I don’t believe I was THAT rambunctious as a kid. My mother may disagree.

TOM: There’s a lot of Cul de Sac and Calvin and Hobbes in your work, do you realize that?

WILL: Absolutely! I crafted Ordinary Bill to resemble the line work of Calvin and Hobbes and my original Submission to syndicates for Wallace the Brave had a heavy Cul de Sac influence. I’ve been drawing Wallace for a couple years and I think I’m just now developing a look that is distinctly me.

TOM: Winter, Spring, Summer or Fall?

WILL: Nothing beats summer in Rhode Island.

TOM: Friends or Seinfeld?

WILL: Honestly, neither. Arrested Development.

TOM: Other than cartooning, what talent would you like to have?

WILL: I’d love to be able to juggle. Not just balls, but chainsaws and torches.

TOM: What living person do you most admire?

WILL: Grandma Betty. You don’t know her, but she rocks.

TOM: What is your motto?

WILL: “Hold my beer”

Thanks, Will!

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Chris Naunton, walking with Tut and Akhenaten

I was excited to interview Dr. Chris Naunton, Egyptologist, who I see all over tv. I tend to watch a lot of shows based on ancient Egypt, I guess that’s why that subject appears in a lot of my cartoons.

Egyptologist, Dr. Chris Naunton (photos courtesy Chris Naunton)

TOM: Hi Chris, thank you for doing this.

I see you have a new book out, “King Tutankamun Tells All,” I noticed the great cover right away. It looks like it’s a book for children. Is this the case?

CHRIS: It is a book for children! I have an academic grounding in Egyptology and most people making a living from the subject are academics, but that kind of work is very serious and doesn’t allow much room for jokes or light-heartedness. I had, for quite a long time, been bugged by this idea that, if the ancient Egyptians’ beliefs were right, then Tutankhamun’s spirit might still be around, dying to tell his own story and to tell us how wrong we had got everything! Writing for children allowed me to give Tutankhamun a voice (that of a slightly perturbed teenager), and to imagine his life, death and afterlife from his perspective, and also to make a few jokes too (as a serious Egyptologist I’m not really supposed to make light of the fact that his underpants were found in the tomb but come on…). It’s not a very serious book in that way, but actually, I think the process has helped me to try to get inside the mind of an Egyptian pharaoh and that’s a very interesting and helpful exercise and one I’d recommend to my colleagues!

TOM: You were appointed president of Thames Valley Ancient Egypt Society recently, what is that all about?

CHRIS: We’re very lucky in the UK that there’s a rich culture of ‘local societies’ — groups around the country run by volunteers who invite people like along to give talks about heir research for local enthusiasts. It provides us with a platform and an opportunity to engage directly with audiences beyond our academic colleagues. Communicating with wider audiences is crucially important for any science, and every opportunity like this helps us to sharpen our skills, hear the very good questions that people want answered etc. I’ve been doing this for almost 20 years now and last year I was invited to become the President of one of the largest and best such groups — the Thames Valley group which serves a wide area to the west of London.

TOM: How did you begin your career as an Egyptologist?

CHRIS: Well, I went to university to study Ancient History and Archaeology — I was more interested in football and rock music than anything else at school but it was pretty obvious by then that I wasn’t going to become a professional athlete, and the bands I was in at school didn’t seem to be going anywhere. So I had no better ideas as to what to do at 18 than to get a degree and this seems like the most interesting way to do it. Once I got there I realized I loved it and my grades were good so I decided to have a go at making a career out of it — fully expecting it wouldn’t happen. After two degrees I started applying for every job and other opportunity going and to my great surprise I got a lowly admin job at the Egypt Exploration Society. I left 16 years later having been CEO for five years.

TOM: Are you just handed the keys to locked tombs and simply walk in with a cameraman?

CHRIS: Ha ha, not quite! All archaeological sites and monuments in Egypt are the responsibility of the Ministry of Antiquities and Tourism (MoTA) and they make sure all visits are closely controlled. TV work has taken me to lots of places that are not usually open to the public but months of application beforehand are required and we are then accompanied by MoTA officials and the local guardians who actually have the keys, and Egyptian facilitators who ensure we know exactly what we can and cannot do, what we can / cannot film etc, and how long we’ve got (usually not long enough!). Still, I feel incredibly lucky thatches line of work has taken me to the places it has. Be there at the moment the burial chamber of the pyramid is opened for the first time in 4,000 years? YES PLEASE.

TOM: Do you not fear the curse of Tut’s tomb when you enter?

CHRIS: I don’t know how many times I’ve been into the tomb now, behind the barriers, in the closed rooms, gurning for the cameras while standing next to the king’s mummy, and it’s all been OK… And having had a chance to imagine how the king himself feels about all this, I reckon I’ll be OK — he quite likes the publicity!

TOM: What song is the theme of your life?

Oh my goodness… It depends one my mood, what’s going on in life… Generally speaking I respond to music more than lyrics I think and a lot of my favorite songs have lyrics that don’t really fit. The lyricists that have — in the 25 years I’ve been listening to music quite intensely — given expression to what I’m thinking and feeling the best are probably Morrissey, who seemed like a disgruntled teenager as I was when I fist started listening to The Smiths, and more recently Matt Berninger of The National, who seems more like a disgruntled 40-something like I am now! (‘I wish that I believed in fate, I wish I didn’t sleep so late’ … ‘Goodbyes always take us half an hour, can’t we just go home’)

TOM: I could have sworn you would have said, “Walk like an Egyptian!”

TOM: What bores you (besides my questions)?

CHRIS: I’m not easily bored. I found out a few years, a little to my surprise, that I’m very much an introvert and part of that is that I don’t need a lot of external stimulation to occupy me, and internal thoughts come easily. Pointless meetings are boring and I’ve been in plenty of those!

TOM: Who is your favorite superhero?

CHRIS: This is not something I often think about. Maybe Bananaman? This was a cartoon on British TV in the 80s, which began: This is 29 Acacia Road, and this is Eric, an ordinary little boy. But when Eric eats a banana, an extraordinary transformation occurs: Eric… is, BANANAMAN! Ever alert to the call to action!”

TOM: Winter, spring, summer or fall?

CHRIS: Spring and Fall — the light is beautiful — gentle and raking — at these times of year. Winter in England is far too dar and gloomy, and summer is too hot. If I had to choose one, I’d perhaps choose Spring as it’s the time when all the time when nature reawakens and everywhere explodes with green. Autumn (Fall!) is tinged with melancholy, as we all know the gloom is coming…

TOM: Who would you like to hang out with for the day — Akhenaten, Tutankhamun or Cleopatra? And why?

CHRIS: Wow, great question! I think Akhenaten. Although we don’t know to what extent it was his project, his reign was one of the most interesting times in Egyptian history, when so much of Egyptian culture was reinvented. I’d love to know if he really was this great, driven intellectual with the imagination to envision an entirely new Egypt, or if he just had revolutionary advisors. And I’d love to know what he really looked like. I’d meet any of them though, especially if I could bunk off for an hour or so and just take a look round!

TOM: Thanks, Chris! Hoping to take one of your tours soon. Until then, I’ll look for you on tv!

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‘Next Door Neighbors’ comic strip reminds me of ‘70s sitcoms

The drawing is what first caught my attention when I saw Next Door Neighbors, the comic strip by Pat Sandy published at GoComics. From there, you can’t help but enjoy the writing and the Dewey family. It reminds me so much of All in the Family or Sanford and Son and sitcoms from that era. I had the opportunity to interview Pat.pat

Pat Sandy in his studio.

TOM: I notice that the first strips were just a few times a week, what made you start publishing daily (Monday thru Friday)?

PAT: I had a lot of story arc material backing up that on a 3 times a week cadence would have dragged out way too long – so once I got up to 3 times it was a moderate jump to 5. Sometimes I question that decision, though!

TOM: The strips have a 1970s tv sitcom feel to them. Did you realize this? What tv shows are your influences if any?

PAT: Nice – I’ve never heard that before but I love it…I did indeed grow up watching TV in that era though, so something must have rubbed off. I had tons of favorites – Mary Tyler Moore, The Brady Bunch, All In The Family, The Partridge Family, The Odd Couple…what a great era for TV.

TOM: Is “Next Door Neighbors” created digitally? Or do you draw with pen and ink? If digitally, what do you use to create?

PAT: Well, I handle NDN pretty old-school – I rough it up, go to a light table and ink and letter it on bristol board, and scan it into photoshop where I make corrections – no fonts, and no digital drawing. I like tactile. I like having something tangible to hold, but having said that, would I want to try a Cintiq or an iPad Pro? That would be a yes. I’m a bit behind the curve, but I do love having originals.next-door-neighbors

Next Door Neighbors, courtesy GoComics

TOM: What’s the last thing you took a picture of?

PAT: An instagram photo of my guitar at a gig with my band, The Rhythm Syndicate. We do blues, swing and soul music and we’ve played all over northeast Ohio for about 18 years.

TOM: Which comic strip, other than your own would you like to crawl into and visit for the day?

PAT: Great question! Probably a toss-up between Peanuts or Doonesbury. I’d like to hang out with Mike, Mark and Zonker, circa 1974…an amazing period for that strip. With Peanuts, there was such a comfort in reading it when i was a kid…I’d love to play on Charlie Brown’s team, although I’d be worse than any of them.

TOM: Something or someone you miss most from childhood?

PAT: Both my parents, really. There were always 1000% encouraging. They would have LOVED Next Door Neighbors. As an aside many of the names used in the strip are family names, including ‘Dewey’, which was my grandfather’s nickname.

TOM: What’s something you always wanted to do as a child but never got to do?

PAT: The Soap Box Derby! My brother did it a couple of times, but I never got around to it, as I’m somewhat mechanically challenged. It was a huge event (still is, really) when I was a kid…the highlight of the summer for kids in my neighborhood.

TOM: Your main character Norm Dewey loves his beer. What is your favorite beer/cocktail?

PAT: A perfect Manhattan. I like beer too, so I’ll have to put in a plug for Cleveland’s beer scene, which is fabulous.

TOM: Norm’s house looks beat up, yet he has a new flat screen tv. Why?

PAT: The Deweys aren’t poor – they’re slobs…well, Norm and the kids are…Jan is simply trying to keep the place in order. Norm has no common sense so naturally, while the lawn needs mowed, the house needs painted, and the couch is falling apart, he’s the kind of guy that goes out and gets a flat screen TV…although, anymore, flat screens aren’t very pricey.

TOM: What car does Norm drive?

PAT: Funny you ask – I finally showed the whole car recently in a strip, and I have absolutely no idea what model I drew – I think it’s a fairly beat up mid-late 90’s/early 00’s something-or-other.

Thanks, Pat! Hope to be enjoying Next Door Neighbors for many years to come!

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He’s blue and he’s awkward, and oh yes, he’s a Yeti!

Nick Seluk has millions of fans of his comic strip, “The Awkward Yeti.” The comic is often a clever commentary on the struggle between our hearts and our brains – it always hits home and many times provokes a belly laugh. The Yeti has a running dialogue many of his body’s organs. You can read The Awkward Yeti at GoComics.com here.Nick-HB-1-v2

Nick Seluk and friends.

TOM: Heart and Brain seem to have their own spin-off from “The Awkward Yeti” how did that come about?

NICK: Brain first joined Lars (the Yeti) to help me get deeper into the anxiety-driven inner dialogue of an introvert, but it wasn’t long before Heart joined as a counterbalance. Heart and Brain found a dynamic that worked well for me and for my audience, and before too long Lars was on the sidelines (although he stars in his own self-titled series online at Webtoons and still makes cameos). I found that through Heart and Brain I could express myself better, and in a way that many people could relate.

TOM: What did you do before you became a full time cartoonist?

NICK: Before going full time as a cartoonist I was a sort of graphic designer / art director type for several years. I worked in corporate America with tons of huge brands, a job I ended up hating enough to want to start my own business instead. I needed to do things my own way, but more than anything needed to escape the constant meaningless small talk.awkwardyeti1

Lars, the Awkward Yeti, courtesy GoComics.com


TOM:
 At what point did you first realize you were famous?

NICK: There are over six billion people who have never even seen my work, so fame is pretty relative. But, having a line of people waiting, actually WAITING for me write my name on a book is very humbling. I guess you could say I was humbled first at San Diego comic con a couple years ago, when I was signing books with my publisher and they had to close off the line. But other than that, it’s not like people recognize me on the street or anything.

TOM: What bores you?

NICK: Conversations about sports. (but not the sports themselves).

TOM: Favorite tv show?

NICK: I have lot of favorites, but I think Louie is one I especially look forward to. I’m a sucker for most of the popular action-heavy shows, too (Marvel Netflix series, Game of Thrones, etc., etc., etc.).

TOM: What famous artist, dead or alive, would you want to paint your portrait?

NICK: Picasso, but during his blue period.

TOM: What are two things you would do if you woke up to find yourself completely invisible?

NICK: Hide from my responsibilities, then go back to bed.

TOM: What song would be the theme of your life?

NICK: Do You Realize by The Flaming Lips, but, like, in a good way.

TOM: Superpower if you had one?

NICK: The ability to make other people fly. Whether I would use this for good or for evil is TBD.

TOM: Other than your own, what comic strips are your favorites? Past and/or present?

NICK: I was always a big fan of Calvin and Hobbes, Garfield, Foxtrot and The Far Side as a kid, along with almost anything else in the newspapers at the time. I read every comic strip every day for many years, even continuing on through college with titles like Pearls Before Swine. When I first got into webcomics I enjoyed two groups: the first being the established comics like The Oatmeal, SMBC, and Cyanide and Happiness (all of which I still like to read); the second being comics that I happened to find early on, whether because we started at the same time, or just crossed paths online. That list is pretty long and includes a lot of people I see regularly at comic cons (a big group of us will be at Kansas City Planet Comicon this year).

Thanks, Nick!awkwardyeti2

Heart and Brain, courtesy GoComics.com

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‘Dunce’ comic strip is in a class all its own

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Jens K at work. (Photo by Agnese Zile)

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Jens K. Styve is the creator of Dunce, a delightful Norwegian comic strip he created in 2016. What attracts you first are the drawings, each strip is a work of art; add the comic writing and quality to that, and you have an award-winning comic strip. (photo by Nicolas Tourrenc).


TOM: Is Dunce you? Why the name Dunce for the title character?

JENS: Whenever I’ve done anything autobiographical, it’s been me drawn with that pointy Dunce-cap. I think it’s all about that voice in your head, the self-evaluating critic. The voice that, each time you do more or less anything, goes “You idiot, why did you do that? Why did you say that? Write that? Draw that? Look, now you’ve made a mess.” I think this voice is pure biology, every human seem to be their own worst critic. You should probably check with a biologist, but I assume it’s how we all made it this far. I guess my inner voice is also a sarcastic, satirical writer that can add some fiction and transform these expressions into comics. When I started doing a daily strip with the pointy-hat character, the title Dunce sort of gave itself.

TOM: What is Dunce’s name? He has a son, what about a wife, I don’t remember ever seeing her.

JENS: The main character’s name is Jens K, maybe with a tiny reference to another resentful literary character (Kafka’s Josef K.). The son is named Gustav, I haven’t really figured out yet if the characters should have other names in English, I guess it’s part of the concept that this is actually in the far north of Norway, far above the polar circle. Gustav obviously has (or at least has had) a mother, many readers ask about her, but that part of the story isn’t told (yet).

TOM: Your drawing style is beautiful, is it digital, do you use pen and ink?

JENS: In 2014, I came back from a 14 year long hiatus from comics. Actually I thought I had quit for good, with my steady job as a graphic designer. I did miss making comics, I guess what I missed most was working offline and analogue, with old fashioned tools like brushes, nibs, good paper and the meditative “flow” of drawing. So I returned. I decided to do a daily strip, just for myself. My days were packed, but I found that if I got up insanely early, I could sketch and ink a complete strip each day before going to work. These were self-published in small zines, and this eventually turned into my Dunce strip. The whole point then, was to do this without using any computers. After a year or so, my strip won several competitions and ended up running in Norwegian magazines and newspapers. After doing maybe 150 strips on paper, I bought an iPad Pro with an Apple Pencil, curious (and a bit skeptical) if these gadgets could recreate my analogue and “inky” style. One of the really good brush-makers for Procreate (Georg von Westphalen) came by and offered to make a brush pack based on my style. That did it, I switched to iPad.

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TOM: What does your studio/workspace look like?

JENS: Since I went full time comic artist in October 2017, I’ve been working at home. I have a separate room for work, but when I have the house for myself, I move around. My dog Brego (who is introduced in the strip, and often seems to be stealing the show) keeps me company, when I move to another place to draw, he finds another place to sleep. Kitchen is for writing, I have a good chair by the large window for sketching, and I do the inking in my office. All my nibs and brushes are there, in close vicinity, and although I do most work on the iPad now, I try to keep them active. Ink on the hands, and those random accidents that can’t be undone, is still what gives the best “flow”.

TOM: Dunce is run in newspapers in Norway and that area of the world. What is the schedule like is it run daily? How far ahead do you have to have the strips in?

JENS: It is running daily, and has been doing that more or less non stop since January 2017. That means I have to produce at least five new strips every week. There has been times (up to quite recently) when I’ve been so far behind that I handed in the next day’s strip at 12 every day. That is not at all recommended. I’ve now been able to build up a buffer of around four weeks. Also, I now try to make six or seven strips weekly, so that I can have a vacation one day, or even be able to get sick.

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TOM: I’ve read various quotes comparing your work to others but I don’t see it, I think you are totally unique. But who are your comic/cartoon influences?

JENS: My influences are pretty widespread, and they also change a lot. Some people mention Quentin Blake and Ralph Steadman, I admit those two have been great inspirations. I grew up loving French and Belgian comics like Asterix and Franquin, in the 90s I was hooked on Fantagraphics stuff (Hate, Eightball etc), and strips like Peanuts and Calvin & Hobbes have always been with me. Lately I’ve been looking into manga comics, working quite hard to find something to get hooked on. I’ve found a few gems, last one was The Girl From The Other Side, which I think everyone should read. Another artist who’s books I keep close these days is the Italian cartoonist Gipi.

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

JENS: Ah, I remember copying Beetle Bailey in very early years. I was maybe 12 when I decided I wanted to become a comic artist. My theory was that I had to draw every day, so that’s what I did. Much of the daily grind at that time was copying whatever I could find. Some comics were almost impossible to copy, and those were often the ones I liked most. I think I was early aware of the mystical quality in a line/stroke and how some drawing styles had more of a “soul.” Early on, I found it hard to do comics, because I was more into drawing than writing. In my recent comics hiatus I wrote and published two novels, so that was pretty much turned around in time.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

JENS: I think Quentin Blake could do a good one, probably also Richard Thompson. Those would probably be ink drawings. If I was to be painted in oil, it could maybe be by Australian comic artist Ashley Wood. Or Norwegian Edvard Munch, he would have painted me as some sort of devious villain.

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TOM: Who is your favorite super hero?

JENS: Ouch, I don’t mean to be cocky, but I’ve never been enthusiastic about any superhero comic (or superhero movie). Guess my reply just has to be «blank» on this one.

TOM: If you could go back in time and change one thing, what would it be?

JENS: I would have started doing this Dunce-strip in 1995, when all newspaper editors were happy and positive people with an optimistic outlook for the future.

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10 things you didn’t know about Rina Piccolo’s groove

Rina Piccolo is a syndicated cartoonist, best known for her daily comic strip “Tina’s Groove,” which revolves around Tina, a waitress at Pepper’s Fine Dining Restaurant. Tina’s Grove started in 2002 and is distributed by King Features Syndicate. She also does lots of other single panel work for magazines and has filled in for other cartoonists. I think the best part is her name – Rina Piccolo – very musical.

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Cartoonist Rina Piccolo

TOM: You do the Tina’s Groove comic strip and I’ve seen single panel gag cartoons, and also sometimes fill in for Hilary Price for Rhymes With Orange and I’ve also seen Six Chix in the past. How do you decide what gags to use for which comic strip or gag cartoon?

RINA: It’s a wonder that no one has ever asked me that because it’s an issue that I encounter often, and it can sometimes be really frustrating. I mean, I have all these outlets for cartoon ideas (well, I no longer do cartoons for Six Chix, so there’s one outlet gone), and it’s often hard to see where best to use them. Sometimes ideas choose for themselves where they want to go. Like, for instance, all restaurant/workaday gags would obviously be used for my strip Tina’s Groove, since it’s about a waitress and her co-worker friends. And if I ever have an idea that’s too racy for the newspaper comics, then I try to shop it around to various magazines that publish cartoons in the style that you see in the New Yorker. On the occasion when I’m filling in for Hilary Price’s Rhymes With Orange comic, I usually have a couple of gags in my drawer that I can’t use for any of my outlets, and what I do is combine these with fresh ones that I sit down to write specifically for the Guest Spot.

TOM: Tina is a waitress, were you ever a waitress, you seem to know so much about the restaurant business?

RINA: Let me admit it right away– I make a terrible waitress, ha ha! However, I have worked in several restaurants in other capacities (kitchen, and counter service). In the last restaurant that I worked in I was the Hostess, and interestingly enough, it was while I was in that job that I had cooked up the idea to do a strip about a waitress, and life in the service industry. Anyway, as I say, I never made it as a server — once, in a small café that I worked in as sandwich-maker/kitchen help, they needed someone to fill in temporarily as a server, and so I served tables — for about 15 minutes. That’s how long it took for the owner to tell me to go back to the kitchen. Ha! Anyway, all this just to say that the reason I know what I know about the restaurant business is because nearly all of my “real” jobs were jobs in which I worked with the public. Anyone who’s worked with the public — and not just the restaurant business– shares the same sorts of experiences. That’s basically what fuels Tina’s Groove.

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KING FEATURES SYNDICATE

Tina’s Groove

TOM: How long did it take for Tina’s Groove to bet syndicated? Did you submit the feature to many syndicates? Did you submit other features? What were those about?RINA: Like nearly every cartoonist at the time, I submitted stuff to all the major syndicates, with no real success. Then, in 1997 or thereabouts, Jay Kennedy, the comics editor (at the time) of King Features syndicate, had become familiar with my single panel gags from contributions I was making to “The New Breed”– a single panel daily that had a different cartoonist every day of the week. Anyway, he called me — this was back in the days when people actually used to use the phone to call people, ha ha. And the weird thing is, the call came one afternoon when I was putting together a submission to King– I mentioned it to him, and he said, “Put my name on it, and I’ll make sure it gets straight to my office”, or something like that. When I hung up I felt stunned. It really felt like it was written in the stars, or something silly like that. But the feeling of having a wide open door to a syndicate deal was fleeting, because what followed was three or four years of going back and forth with Jay, submitting strip premise ideas and character ideas, with no guarantee of a contract. On about the two or three year, I took one of the characters I’d been working with and made her a waitress. When Jay saw it, he liked it enough to encourage me to move in that direction, and from that was born “Tina” from Tina’s Groove. But I should stress that I had always wanted to do a single panel gag cartoon, and not a comic strip with characters. Apparently the trend at the time made character-driven strips more marketable, and Jay was only interested in seeing comic strips; he encouraged me to go in that direction, so that’s what I created. As for the other characters & strip ideas that I submitted to Jay in those years I can only say that there were several, and I can barely remember a couple of them – one of them was a kid strip that featured a little girl who narrated her views of the world around her, and another was an actress character whose roles in movies became adventures in the strip. Or something like that. My old brain can’t recall most of the crap I wrote at the time!

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KING FEATURES’S SYNDICATE

Tina’s Groove

TOM: How do you work? What is the schedule like?

RINA: I do have a schedule. My schedule is that I work all the time, ha ha! Seriously, I am one of those people who just really enjoys this stuff a lot, and I seem to have an eagerness to constantly create stuff. I pencil and ink Tina’s Groove on Monday, write material on Tuesday, and part of Wednesday, pencil and ink the Sunday cartoon on Wednesday, and then I have Thursday, Friday, Saturday, and part of Sunday to work on other projects– personal or paid work. If I have a free evening I like to goof around in my sketchbook.

TOM: Although cartoonists seem to be alone most of the time, they seem to be a cliquish group. What other cartoonists are you friendly with?

RINA: Yes, the industry is pretty small — at least the world of syndication is — and everybody kind of knows everybody else. Some of us have great friendships that last years and years, and yes, even romances. But like you say, cartoonists spend an awful lot of time alone, and so when we get together, well, it’s what you’d imagine — a lot of catching up, a megadose of shop talk, and some gossip thrown in. I love my cartoonist friends. The ones I hang out with, or keep in touch with, in person, or through Skype, are Sandra Bell Lundy (Between Friends), Paul Gilligan (Pooch Cafe), Cathy Thorne (Everyday People Cartoons), Susan Camilleri Konar (Six Chix), Anne Gibbons (Six Chix) ( in fact you can include all of the Six Chix ladies, as we Skype now and then), Hilary Price (Rhymes With Orange)… oh boy, there are more, but do I have the space here to list everyone? When I lived in NYC I used to hang out with a lot of cartoonists in the NY, NJ, and Connecticut area. I think the reason why cartoonists are “cliquey” is because we relate to one another in a way that others just don’t, or can’t. Cartooning is an uncommon profession. (It’s not like the typical neighborhood comes with a couple of pro cartoonists in it.) Since it’s such a rarity, it’s nice to have a friend that can totally relate to you when you say something about penciling, or inking, or anything like that, without having to explain (which I think would be boring for people who don’t cartoon).

TOM: Digital or pen and ink?RINA: Both! I use a Cintiq Companion to pencil and ink Tina’s Groove (also used it for last two years of Six Chix, and my guest weeks on Rhymes With Orange). And I use a brush, pen, and ink to draw gag cartoons (magazine gag cartoons, and lately for the book I co-authored, Quirky Quarks: A Cartoon Guide to the Fascinating Realm of Physics.) I also do a lot of sketchbook drawings in a paper sketchbook. Sometimes I draw on my iPad, or Cintiq for animated Gif art, and things like that.

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KING FEATURES’S SYNDICATE

Tina’s Groove

TOM: What was the first thing you would seriously draw? I mean, I would draw Fred Flintstone, I always remember as a young child doing that. Did you draw a character or have a favorite subject at a young age?

RINA: Horses. I’ve always loved horses, and when I was a little girl I used to try to draw them all the time. I still can’t draw a horse. Well, not a good one.

TOM: What famous artist, dead or alive, would you want to paint your portrait?

RINA: Jackson Pollock… Ha, ha, kidding! (Although he’d get my hair right.) … Seriously, good question — I really don’t know. John Singer Sargent would certainly make me look good in brush strokes. No way I’d let Robert Crumb draw me– I think he’s a master, but he’d probably give me a bulbous butt.

TOM: Favorite movie of all time?

RINA: The Wizard Of Oz. That movie does something to me. I’ve watched it numerous times. It never gets old.

TOM: What other comic strips/panels do you enjoy? Past and present.

RINA: I wouldn’t call myself a humongous consumer of comics, weirdly, but I do enjoy a lot of them. In fact, too many to list here—and many are created by people that I know personally. My all time favorites, I can say, are Lynda Barry’s “Ernie Pook’s Comeek”, and anything by Roz Chast (especially her longer-form stuff). I’ve always loved these two because their stuff makes me literally laugh out loud — and I know how difficult it is to have that effect on a reader.

TOM: Thank you, Rina. Enjoyed the chat!

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