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Q: Did you encounter any obstacles along the way?

A: Yes, lots of them. I've had my work rejected by some of the most illustrious publications in the world. Editors have told me that my work wasn't that good. I even had a famous cartoonist once tell me that I should give up, my art wasn't that good and I should concentrate on my writing talents. I ignored him, and lots of other professionals in the field told me to keep going, that I would make it one day.

Once on a trip to New York City, I visited several art directors at various publishers and showed them my portfolio, hoping to land a contract to illustrate a children's book. The first art director that I met with told me that she liked my work, but my colors were too bright and children wouldn't like them: I should go home and tone down the colors I had used. That afternoon I met with an art director at a different company, who liked my drawings, but said that the colors were not bright enough for children: I should go home and brighten up the colors that I had used!

I've had original art "accidentally" destroyed by publishers. One well-known publishing house actually removed my original illustration from its protective packaging, folded it in half to squeeze into an envelope that was too small, and then sealed it by stapling it 28 times. The staples went right through the center of the art! I've also had customers use my art and then neglect to pay me.

But I have also had thousands of wonderful experiences. I've worked with extremely helpful, talented editors and publishers. Peel Productions, the publishers of my "1-2-3 Draw Cartoon" series of books for young children, have been marvelous to work with. Their editing decisions have been an immense help, and I now consider them good friends.

I've had to earn my income working in a variety of different art jobs. I've been an advertising director, a graphic artist, designed yellow page ads for the telephone company, and worked in the art departments of some very large companies. That not only helped me pay the bills, but I learned something valuable at each one of those jobs that I found useful later on in my cartooning career.

I now work out of my house full-time, drawing cartoons and writing books. I've written and drawn a syndicated comic strip that was distributed by Tribune Media Services for quite a few years. I illustrate educational material, and have even worked for three and a half years as an artist for a successful educational publisher. I got to draw literally thousands of cartoons while I worked on their staff, and enjoyed the atmosphere of working with several other cartoonists and illustrators in the same building.

So any setbacks I have ever encountered in this business have ended up having positive results, and I have used even the bad experiences as an opportunity to grow and improve.

Q: Who are some of the cartoonists whose work inspired or influenced you?

A: They're almost too numerous to mention. As a child, I was greatly influenced by the work of Charles Schulz, Walt Kelly, Al Capp, Mort Walker, Hank Ketcham and Dik Browne.

Gil Fox shared great wisdom and knowledge about the cartooning profession with me, and introduced me to many other cartoonists. Bob Weber Jr. (who draws "Slylock Fox and Comics for Kids" for King Features) and his dad, Bob Weber Sr. (who draws "Moose Miller" for King Features, also). Jerry Marcus shared his enthusiasm for cartooning with me. Orlando Busino was a great help, and I love his drawing style. Tony Auth, the Pulitzer prize winning editorial cartoonists shared some of his knowledge with me, and I love his work.

Cathy Guisewhite and Lynne Johnston are two of the women cartoonists who I greatly admire.

When Bill Watterson was working on "Calvin and Hobbes", I always excitedly opened the newspaper every day to see what his characters were up to. I always thought he had taken comic strips to the next level with his creation.

I also admired Gary Larson (of "Far Side" fame) and Berke Breathed.

Many others wrote me encouraging letters or actually met me in person when I was starting out, and almost everyone I have ever met that is associated with the cartooning profession have been incredibly helpful to me. I will always be grateful for an afternoon I got to spend talking to Dik Browne (Hagar the Horrible) while he was still living. In one day he gave me enough encouragement and inspiration to last me a lifetime.

Page 1 - Meet Steve
Page 2 - A Career in Cartooning
Page 3 - Technical Tips
Page 4 - Going Pro