I got to draw shapes. I really like to draw funky, geometric shapes. And I got to use just different fonts and make a joke of how feminine it was, but it didn't even have people in it. To me, it was so exciting and interesting to do that for a while.

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 would make a comic for Rolling Stone every two weeks, because they're biweekly. And then I would make weekly comics for my weekly papers. It was on two parallel tracks. And then they all got collected in a book.

I felt really conflicted about making money off stuff that's creatively satisfying.

Nobody could be a professional cartoonist, because you have to do something you don't like to do in order to be a responsible adult and pay the rent.

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

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.