Hilary Price – Inside the Cartoonist’s Studio

Welcome to another edition of Inside the Cartoonist’s Studio! Let’s have an awed hush for “Rhymes with Orange” creator Hilary Price!

1) If you were to cast a movie entirely with cartoon characters, what movie would it be and who would star in it?

Fred Basset gets bitten by a rabid squirrel and bites Dagwood, Hagar, Brenda, Annie and all the other cartoon characters whose artists have now passed on and who are written and drawn by a hired gun who doesn’t get paid enough. Though the cartoon characters struggle valiantly to survive, they don’t, so they all move on to the great comic strip page in the sky. The name of the movie is called “Guaranteeing the Health and Future of the Comics Industry.”

2) You’re a syndicate editor launching a new comic strip. What’s the worst possible title you can think of?

Zits… But what do I know?

3) A light bulb over a cartoon’s head signifies an idea, while a string of random characters denotes swearing. Invent a new cartooning icon and what it means.

You want me to invent a cartooning icon? I will do that if you invent a new letter of the alphabet. You first.

Let’s see… New letter…

OK, try to imagine two uppercase A’s joined at the legs. Sort of an “AA”. It sounds like “Ayyyyyyy…” and it’s used to invoke a Fonzie-like vibe into normal everyday boring words. For example: Boring old “basil” is now uber-hip “bAAsil”!

Ball’s in your court, Hilary…

Please be sure to check out “Rhymes with Orange” and buy the latest RWO collection, “Reigning Cats And Dogs: A Rhymes With Orange Tribute to Those Who Shed”!

BTW, if you live in Cleveland, Ohio, please vote for RWO! Read last week’s post for all the nitty gritty.

“What do you mean funny?! Funny how?! How am I funny?!”

Researchers at the University of Michigan are taking seruouly funny cartoons very seriously.

They’re using the recently published “The Complete Cartoons of The New Yorker” to try to figure out what’s funny and why.

New Yorker cartoon editor Robert Mankoff suggests that gag cartoons are perfect for this kind of research. He likens them to a fruit fly “because the chromosomes are not complicated, and because its short life cycle makes it ideal for following hereditary changes. Well, the ideas in cartoons are like that: easily visible. And the ideas that prompted them have an easily observable life cycle.”

(Interestingly enough, Mankoff also later refers to himself as a “gadfly” in regards to his role in the project. Perhaps some pest issues at the New Yorker?)

There’s a great article about it in The New York Times. Check it out!