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Here’s one of the first real illustrations I ever took, but it’s still one of the coolest art I ever made. The original sketch is on the cover of the book, but I couldn’t put it up for sale because they wouldn’t let us reprint it in the book. It’s called “A Brief Look Inside the Super-Hip Hop Collection.”


This is also one of the images that I’ve featured on my Twitter account, and a lot more people follow you there. But in case you haven’t met me, I’m a cartoonist now. So to all the people out there who get my work, thanks for your support.

The first time I was at a meeting for our new art magazine, a bunch of my friends showed up because the editor invited them. This was also the first time I’d ever read the magazine, because it was in the mail. It was a pretty boring meeting. We did some stuff on some stuff, but that was probably the most fun I had all day. For the most part, the editors were nice, and seemed eager to find artists of similar backgrounds. I found out later that they were looking for artists with a particular style—cartoonists with fast-paced, cartooning, or cartoonists who were already doing that kind of thing. One that I hadn’t heard of was Jeff Parker, a guy by the name of Tim Lott—he was already doing those kind of thing. I thought it was probably cool for those guys to be hanging around, because they didn’t have any previous references to draw. So I asked some other artists what they liked about Tim Lott and then asked them what they didn’t like. Everyone said “fast-paced” and “cartooning,” and I said, “Oh yeah—he can do it.” You could be a nice person at any time and still make a shitty cover: “The world’s greatest artist is on the cover with this kind of shit!” In this case, it wasn’t that bad, but I was still really bummed at one point when an editor said to me, “What about Jeff Parker?” I felt like that was a really mean thing to say about one of my best friends. What do you think?

Tim Lott’s work is a pretty important part of modern illustration. For me, he’s the only person of his vintage—the 80s—who really fits it—like the way all the other cartoonists are still doing their thing

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