A Quote by Stephan Pastis

You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space. — © Stephan Pastis
You can write a little and can draw a little, but there's necessarily a limitation on both in a comic strip, since it appears in such a tiny space.
Well, I've been a big fan of comic books since I was a little kid. In fact, I used to write and draw my own comic books when I was on the old Lost in Space series.
'Blade Runner' was a comic strip. It was a comic strip! It was a very dark comic strip. Comic metaphorically.
It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip.
When I was very little, four or five, I did comic strip drawings, so my first novel had no words. I couldn't write and thought adult handwriting was a mysterious scribble. When I was 14, my grandmother gave me a typewriter and I started writing in a different way.
The comic strip is what I looked at, and it's another reason I did it. The comic strip, where animals would comment on human behaviour, interested me.
I liked being in a smaller theater. I love doing shows of all sizes, but sometimes it's nice to be in a smaller space and to strip away some of the music so that you can be a little less than larger-than-life; you can be a little more naturalistic.
This is what I tell my students: step outside of your tiny little world. Step inside of the tiny little world of somebody else. And then do it again and do it again and do it again. And suddenly, all these tiny little worlds, they come together in this complex web. And they build a big, complex world.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
Looking back Little Lulu was an early feminist, but at the time I just thought she was a really feisty developed comic strip character.
I've had journals ever since I was really little. Sometimes I write poems and stuff, but for the most part I write down what happens to me during the day that I don't want to forget. So I have books filled with little things like that.
If you're going to draw a comic strip every day, you're going to have to draw on every experience in your life.
When I lived in a little flat in Pimlico in 1981, I'd write in the hallway. As you walked in, there was a tiny little recess type thing, hardly a hallway, really, and I'd sit there writing songs with my guitar.
Babies have big heads and big eyes, and tiny little bodies with tiny little arms and legs. So did the aliens at Roswell! I rest my case.
Holiness is the sum of a million little things — the avoidance of little evils and little foibles, the setting aside of little bits of worldliness and little acts of compromise, the putting to death of little inconsistencies and little indiscretions, the attention to little duties and little dealings, the hard work of little self-denials and little self-restraints, the cultivation of little benevolences and little forbearances.
I'll never forget that little apple box I stood on because I couldn't reach the microphone. My name was written on it and it's sitting at Diana Ross's house now. She has all my little doodling papers I would draw and write.
Charles Schultz is a really interesting case. He wrote that comic strip and drew it himself from beginning to end, and it's a work of genius. It's very simply drawn, but it has some really deep emotions that you don't expect in a silly-looking comic strip.
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