For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.

The shows are either 11 or 22 minutes and they move pretty quickly, and that's part of the charm of them - so it was just trying to keep that in mind and keep the energy of the story moving, even though we were dealing with a longer format.

Yes, it's a prequel. It tells the story about how the girls were born with superpowers, but they weren't necessarily heroes at the beginning of this movie, so the movie is about the events that happen in their life to make them decide to be heroes.

I started working at Hanna-Barbera in '92 on 2 Stupid Dogs.

I've been drawing since I was about 3 and I come from a family of artists.

Well, for one thing, the executives in charge at Cartoon Network are cartoon fans. I mean, these are people who grew up loving animation and loving cartoons, and the only difference between them and me is they don't know how to draw.

But to me what seems to be missing in a lot of portfolios is Cartooning.

First, there was 2 Stupid Dogs. Then, Dexter's Laboratory. And now, Powerpuff Girls. There were a lot of little things in between, but those were the main ones.

One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.

So what I do is supervise the boarding process trying to get the shows the way I'd like them to be. And in some cases I've completely redone a board myself even though I'm not credited for it.

Basicly what I had to do was do a 7 minute board and pitch it to a room of big wigs from the network and based on that they determined if I would get a short or not.

I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.

The reason they look the way they do is that the first drawing I did of them was really small so I didn't draw fingers, nose, ears, etc and this drawing had a certain appeal that I really liked.

Basicly I'm in charge of all creative aspects of the show.

Anything you see on the screen was at one point approved by me.

I'm always thinking about what I might want to do next, but there's still things I want to do with Powerpuff - so I can keep going with this one for awhile.

I'm a geeky toy collector, and to have toys of your own characters is unbelievably cool.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

There's a lot you can do without words.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

For a long time I wanted to be a comic strip artist but when I started doing them in my teens they were getting really elaborate with tons of poses and a lot of information.

We chose the actors thru a series of auditions when we started the show.

Being a cover artist is not like being a real artist. That's just copying what someone else did.

The artist need not know very much; best of all let him work instinctively and paint as naturally as he breathes or walks.

What an artist learns matters little. What he himself discovers has a real worth for him, and gives him the necessary incitement to work.

Beauty, like truth, is relative to the time when one lives and to the individual who can grasp it. The expression of beauty is in direct ratio to the power of conception the artist has acquired.

I'm inspired by nature. Other artist's work is important for developing my perception.

There is only one position for an artist anywhere; and that is upright.

The difference between a bad artist and a good one is: the bad artist seems to copy a great deal; the good one really does.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

What do you say when someone has truly inspired you? How do you express to an artist how deeply their work has affected you?

An original artist is unable to copy. So he has only to copy in order to be original.

When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen.

You have to find what makes you stable in the storm. Then, no matter what's happening round you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.

The key to the mystery of a great artist is that for reasons unknown, he will give away his energies and his life just to make sure that one note follows another... and leaves us with the feeling that something is right in the world.

I've always felt that if one was going to take seriously this vocation as an artist, you have to get beyond that decorative facade.

Art is a private thing, the artist makes it for himself; a comprehensible work is the product of a journalist. We need works that are strong, straight, precise, and forever beyond understanding.

The most colorful section of a bookstore is the display of SF books, with art by people like Wayne Barlow, who is a terrific artist.

Arguably, no artist grows up: If he sheds the perceptions of childhood, he ceases being an artist.

Let not a man do what his sense of right bids him not to do, nor desire what it forbids him to desire. This is sufficient. The skillful artist will not alter his measures for the sake of a stupid workman.

I so much appreciate it when anybody tries to make something and tries to be an artist - I'm happy to see the work.

The artist is seen like a producer of commodities, like a factory that turns our refrigerators.

I've also been willing to share any help that I could give to any other artist.

An artist, under pain of oblivion, must have confidence in himself, and listen only to his real master: Nature.

What is it they want from the man that they didn't get from the work? What do they expect? What is there left when he's done with his work, what's any artist but the dregs of his work, the human shambles that follows it around?

No artist work is so high, so noble, so grand, so enduring, so important for all time, as the making of character is a child.

I left Jamaica for a while, because as an artist I need to experience different things, see the world, have different energies. Living in one place is not good for me.

A young and vital child knows no limit to his own will, and it is the only reality to him. It is not that he wants at the outset to fight other wills, but that they simply do not exist for him. Like the artist, he goes forth to the work of creation, gloriously alone.

Though the artist must remain master of his craft, the surface, at times raised to the highest pitch of loveliness, should transmit to the beholder the sensation which possessed the artist.