It was just too hard from my standpoint to apply myself properly for the lessons from art school and also work 6 hours a day at the Ben Paris restaurant in downtown Seattle. There was just no time to have a life.

I went into Hollywood and met Mike Aarons and went to Grantray-Lawrence Animation to work on the, by today's standards, extremely cheap and crude Marvel superheroes cartoons which basically consisted of taking stacks of the comic book art, taking parts of the art, pasting it down, extending it down into drawings and occasionally a new piece of art to bridge the comic book panels and limited animation and lip movement.

When I was at Disney and was a character art manager and handing out artwork that had to be inked we had a thing where if there was any lettering on it I'd hear, "I don't letter," and I said, "Look at it. It's drawing. Ink the drawing." I just learned from Mike Aarons how each letter was just part of the drawing.

I guess I've been naive my entire life.

Sometimes I look at some of my old work and I don't like it.

I still have a lot my Disney store art left and if I ever run out I'll just redraw it, because it will still be my original art and as a freelancer I own it.

I will say that I'm proud of my connection to DC comics because they are absolutely fabulous in sending reprint royalty checks.