The thing that was interesting to me about Relationshapes - as opposed to most of the other cartoons I've ever made - was I knew when one worked and when one didn't work, but I couldn't really explain it.

I don't want to be one of these people who's like, "Man, I don't know where my ideas come from and I don't know why this works."

I liked sharpening pencils and I was like, "Oh, I wonder if I could get paid to do it." And I figured it out and I did it.

I have very limited craftsmanship. And a lot of the stuff I make plays on that.

I'm interested in the structure of art and how it works. And the content is also interesting, but I don't want to keep the same structure and just plug in new content every week.

People think, "Wow, people in America have so much money, they're sending hundreds of pencils to this guy." I don't think those people realize that most people who are buying these pencils are buying them as art objects or conversation pieces.

The time that I would spend revisiting my old Get Your War On strips is more profitably spent Googling myself and reading comments about how people hate my pencil-sharpening business.