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"For me, it's because every day of my life, I meet people who don't know what the hell I do. Twenty-some years later, I'm still explaining, and they don't get it. They always ask me which volume I recommend to start with, and I think, 'Gee whiz, they could start with the first one, but oh, that has the dinosaurs and stuff. They won't take me seriously if they read that.' With Locas, I can proudly say, 'Get this book, and you'll know all about me.'" -- Jaime Hernandez on the advantages of a big collection to Noel Murray at The Onion.

"Because I tend to get neurotic, when I was drawing on paper I kept messing up, and it became a very frustrating thing, so I wished there was some way that I could just keep erasing and not destroy the image. Then a friend of mine got a computer and showed me Adobe Illustrator. And it was, like, Oh, my god, that's it, if I could figure out a way to do it. A mouse is too clumsy a tool, but then I found these tablets that you can draw on that are pressure sensitive. Now I have one that actually has a screen that you can draw on." -- Alex Gregory on the way he draws to Marshall Hopkins at The New Yorker.

"Finishing up Gongwanadon was really acutely unpleasant and left a bad taste in my mouth. Almost all of the work in Cusp had been done in college, over the course of two years, to fulfil some assignment or other, and I found that after I graduated (two and a half years ago), without these external motivations (the assignments), I was almost completely stagnant creatively." -- Thomas Herpich on working after school to Adam Ford at PopImage.
 
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