1 00:00:00,080 --> 00:00:04,800 Speaker 1: If you recall, the Advertiser some years ago was running 2 00:00:05,000 --> 00:00:08,719 Speaker 1: well forever, really was running cartoons up until a couple 3 00:00:08,760 --> 00:00:12,000 Speaker 1: of years ago three four, and I can go back 4 00:00:12,039 --> 00:00:16,360 Speaker 1: to my childhood and remember ones like The Kingdom of 5 00:00:16,400 --> 00:00:20,960 Speaker 1: id Broomhilder, Fred Bassett, Andy capp I Reckon that one 6 00:00:21,000 --> 00:00:23,680 Speaker 1: was in the news. But there were so many cartoons 7 00:00:23,720 --> 00:00:26,320 Speaker 1: in both papers, in the news in the afternoon. Well, 8 00:00:26,360 --> 00:00:29,360 Speaker 1: the News went to function about nineteen ninety two. The 9 00:00:29,440 --> 00:00:33,360 Speaker 1: TiSER kept going with cartoons right up until about twenty 10 00:00:33,800 --> 00:00:39,400 Speaker 1: twenty two, one or two, and then they vanished. One 11 00:00:39,440 --> 00:00:43,159 Speaker 1: of them running towards the end of that period with 12 00:00:43,200 --> 00:00:47,720 Speaker 1: the Advertiser was Insanity Streak and it Sanity Streak is 13 00:00:47,760 --> 00:00:51,760 Speaker 1: basically mostly just one frame with a caption and maybe 14 00:00:51,760 --> 00:00:56,120 Speaker 1: a bit of dialogue and hilarious. It was hilarious. Tony 15 00:00:56,200 --> 00:00:59,320 Speaker 1: Lopes is the cartoonist. He has just picked up I 16 00:00:59,400 --> 00:01:05,360 Speaker 1: Understand fifteenth Stanley Award for Best Comic Strip Award and 17 00:01:05,720 --> 00:01:09,839 Speaker 1: in Sanitay Streak available online through subscription. These days trying 18 00:01:09,840 --> 00:01:12,240 Speaker 1: to make a living, Tony, good evening to you, Thank 19 00:01:12,280 --> 00:01:12,840 Speaker 1: you for your time. 20 00:01:13,680 --> 00:01:15,720 Speaker 2: Good evening, Matthew, Thanks thanks for having me. 21 00:01:15,800 --> 00:01:19,000 Speaker 1: Congratulations on the latest. Stanley must have a special room 22 00:01:19,000 --> 00:01:21,000 Speaker 1: for them by now, trophy room. Thank you. 23 00:01:21,080 --> 00:01:23,600 Speaker 2: Yep, they're propping up the foundation of my house. Yes, 24 00:01:23,720 --> 00:01:24,479 Speaker 2: fifteen of them. 25 00:01:25,080 --> 00:01:27,880 Speaker 1: Unreal, well done. So how long have you been drawing for. 26 00:01:28,840 --> 00:01:32,440 Speaker 2: So Insanity Street commenced its infancy It was nineteen ninety 27 00:01:32,480 --> 00:01:35,000 Speaker 2: five on a weekly basis, and in two thousand and 28 00:01:35,080 --> 00:01:37,360 Speaker 2: went daily. So it's been twenty five years drawing a 29 00:01:37,440 --> 00:01:38,040 Speaker 2: daily comic. 30 00:01:38,120 --> 00:01:38,920 Speaker 1: So good. 31 00:01:38,959 --> 00:01:41,759 Speaker 2: I'm up at about nine thousand strips these days. Wow, 32 00:01:42,560 --> 00:01:43,479 Speaker 2: still churning them out? 33 00:01:44,280 --> 00:01:48,240 Speaker 1: And have you found yourself repeating or is there still 34 00:01:48,280 --> 00:01:49,160 Speaker 1: fresh material? 35 00:01:50,440 --> 00:01:52,280 Speaker 2: It's always had. I only thought I had two weeks 36 00:01:52,360 --> 00:01:55,200 Speaker 2: worth when I commence so twenty five years later. But 37 00:01:55,400 --> 00:01:58,600 Speaker 2: I have some trained spotting readers who do pick up 38 00:01:58,600 --> 00:02:01,040 Speaker 2: the occasional joke where I've seen this before or a 39 00:02:01,120 --> 00:02:04,160 Speaker 2: variation of it. You've got to be pretty on the ball. 40 00:02:04,400 --> 00:02:05,560 Speaker 1: Yeah, you're always. 41 00:02:05,200 --> 00:02:07,400 Speaker 2: Going through my archive checking that I haven't doubled up. 42 00:02:07,680 --> 00:02:11,919 Speaker 1: Okay, how do you find inspiration? Where does it come 43 00:02:11,919 --> 00:02:14,560 Speaker 1: from to come up with a cartoon every single day? 44 00:02:15,280 --> 00:02:17,320 Speaker 2: Well, like any job, you get better of it, better 45 00:02:17,360 --> 00:02:18,840 Speaker 2: at it. But a couple of mornings a week I 46 00:02:18,880 --> 00:02:22,079 Speaker 2: head to the beach, and it's there where I'm most relaxed, 47 00:02:22,120 --> 00:02:24,480 Speaker 2: and I find a good rhythm now doing that, and 48 00:02:24,520 --> 00:02:28,720 Speaker 2: I just brainstorm topics or situations that I want to explore. 49 00:02:28,800 --> 00:02:31,160 Speaker 2: So you know, I might look at the idea backwards, 50 00:02:31,240 --> 00:02:34,520 Speaker 2: reverse the scene, substitute people or places in a spot 51 00:02:34,639 --> 00:02:37,679 Speaker 2: certain scene, or ask what if you did this a 52 00:02:37,680 --> 00:02:40,919 Speaker 2: certain scenario, and I do just then start to appear, 53 00:02:40,960 --> 00:02:42,880 Speaker 2: Like after about twenty thirty minutes, you know, you might 54 00:02:42,880 --> 00:02:44,240 Speaker 2: have a good day. You might come up with four 55 00:02:44,360 --> 00:02:47,519 Speaker 2: or five other days nothing. But if that happens, I 56 00:02:47,639 --> 00:02:49,560 Speaker 2: just go home and stare out the window and grab 57 00:02:49,600 --> 00:02:51,799 Speaker 2: another coffee. But yeah, after a while, you sort of 58 00:02:51,800 --> 00:02:52,800 Speaker 2: getting a good routine. 59 00:02:53,120 --> 00:02:55,600 Speaker 1: Yeah all right. I mean look, just as an example 60 00:02:55,600 --> 00:02:59,679 Speaker 1: if people want to know what insanity streak is, like, 61 00:02:59,720 --> 00:03:02,480 Speaker 1: I'm looking at one now where two dogs are in 62 00:03:02,520 --> 00:03:04,360 Speaker 1: the house. One is on the computer, the others at 63 00:03:04,360 --> 00:03:07,200 Speaker 1: the window saying, dude, they're coming up the driveway. Clear 64 00:03:07,280 --> 00:03:09,360 Speaker 1: the history and we can see the screen which the 65 00:03:09,360 --> 00:03:12,359 Speaker 1: dogs have been looking up sites like poor Hub. And 66 00:03:12,919 --> 00:03:16,280 Speaker 1: that's quite funny. That's just funny. I love, thank you. 67 00:03:16,960 --> 00:03:24,359 Speaker 1: So yes, it goes along that. The prophet saurus one 68 00:03:24,440 --> 00:03:28,320 Speaker 1: is funny too the dinosaurs, where all the other dinosaurs thought, 69 00:03:28,680 --> 00:03:31,239 Speaker 1: is it Franco, I'm just chopped off on the photocopy 70 00:03:31,280 --> 00:03:37,000 Speaker 1: of here, was was joking and the prophet saurus is 71 00:03:37,640 --> 00:03:39,880 Speaker 1: frank the dinosaur walking along with the sign saying the 72 00:03:40,000 --> 00:03:41,240 Speaker 1: end is nigh, and. 73 00:03:41,160 --> 00:03:46,200 Speaker 2: They all the other other dinosaurs thought he was paranoid. 74 00:03:46,200 --> 00:03:49,920 Speaker 2: But yeah, what's happening? Yeah, that's basically my cartoons have 75 00:03:49,960 --> 00:03:53,920 Speaker 2: no regular characters or so anyone's fair game each day, 76 00:03:53,960 --> 00:03:57,000 Speaker 2: so that kind of coming out with ideas a bit 77 00:03:57,040 --> 00:03:59,120 Speaker 2: more easier. But I don't have to focus on one topic, 78 00:03:59,160 --> 00:04:03,400 Speaker 2: so wherever my mind wanders, which suits me quite well. Yeah, 79 00:04:03,440 --> 00:04:04,600 Speaker 2: can take it anywhere, So that's great. 80 00:04:05,000 --> 00:04:08,280 Speaker 1: How have you found it without newspapers because I don't 81 00:04:08,320 --> 00:04:10,720 Speaker 1: know if there's a single newspaper anywhere in the country 82 00:04:10,720 --> 00:04:12,400 Speaker 1: that publishes cartoon still is there? 83 00:04:12,600 --> 00:04:15,640 Speaker 2: Yeah, they're actually becoming like the dinosaurs. There's a few 84 00:04:15,640 --> 00:04:18,159 Speaker 2: weeklies here and there in Australia that are running little 85 00:04:18,200 --> 00:04:21,279 Speaker 2: pages and maybe biweeklies, but all the major dailies have ceased. 86 00:04:21,680 --> 00:04:24,320 Speaker 2: But I'm quite lucky now so I'm syndicated, so I 87 00:04:24,360 --> 00:04:27,760 Speaker 2: appear daily in the UK or throughout the UK, Scandinavia 88 00:04:27,800 --> 00:04:29,880 Speaker 2: and now being picked up by King's Features in the 89 00:04:29,960 --> 00:04:32,479 Speaker 2: United States. So they've got me in about half a 90 00:04:32,520 --> 00:04:35,760 Speaker 2: dozen about a dozen papers now, but the online subscriptions 91 00:04:35,800 --> 00:04:38,080 Speaker 2: going okay, So you know, we're plugging away, and I'm 92 00:04:38,120 --> 00:04:40,280 Speaker 2: still grateful that I can do this job after a 93 00:04:40,360 --> 00:04:41,320 Speaker 2: quarter of a century. 94 00:04:41,600 --> 00:04:46,160 Speaker 1: That's amazing. So three million readers a day looking at 95 00:04:46,160 --> 00:04:48,400 Speaker 1: your cartoon, that's unbelievable. 96 00:04:49,040 --> 00:04:52,840 Speaker 2: Yes, quite. Try not to think about it because human 97 00:04:52,960 --> 00:04:55,919 Speaker 2: being so subjective, you can't please everyone. And if I 98 00:04:55,960 --> 00:04:57,560 Speaker 2: think a cartoon's funny, I'll send it out. 99 00:04:57,560 --> 00:04:58,159 Speaker 1: But I do. 100 00:04:58,120 --> 00:05:01,440 Speaker 2: Receive emails from certain people. There's even a website out 101 00:05:01,440 --> 00:05:05,600 Speaker 2: there called comics. I don't understand, and I'm frequently mentioned 102 00:05:05,600 --> 00:05:05,920 Speaker 2: on that. 103 00:05:06,040 --> 00:05:09,120 Speaker 1: Really see why, I'm looking at a stack of them here, 104 00:05:09,120 --> 00:05:11,880 Speaker 1: and they're all funny, every single one of them. 105 00:05:12,680 --> 00:05:14,760 Speaker 2: Matthew, you're too kind. You should be an editor. 106 00:05:17,320 --> 00:05:19,279 Speaker 1: Okay, comics, I don't understand. I'm going to have to 107 00:05:19,279 --> 00:05:21,880 Speaker 1: look at that website, I think, but your. 108 00:05:21,800 --> 00:05:24,279 Speaker 2: Minds the people running it just don't have a sense 109 00:05:24,279 --> 00:05:24,719 Speaker 2: of humor. 110 00:05:24,880 --> 00:05:28,520 Speaker 1: Yeah, that's crazy. I was going to ask you something now, 111 00:05:28,560 --> 00:05:30,280 Speaker 1: and I've lost for training of thought with that that's 112 00:05:30,640 --> 00:05:36,839 Speaker 1: that's just startled me. I think the fact that, oh, yes, 113 00:05:36,880 --> 00:05:39,320 Speaker 1: I know what it was. You draw them, do you 114 00:05:39,480 --> 00:05:43,800 Speaker 1: road test them to make sure they're funny? Do you 115 00:05:43,800 --> 00:05:46,040 Speaker 1: you know the WI Friends or whatever. 116 00:05:46,440 --> 00:05:48,320 Speaker 2: Yeah, my wife is a sounding board and she has 117 00:05:48,720 --> 00:05:52,360 Speaker 2: I trust her comic sensibility, and occasionally maybe my brother 118 00:05:52,480 --> 00:05:55,000 Speaker 2: or sister in law. But generally, now after twenty five years, 119 00:05:55,040 --> 00:05:58,520 Speaker 2: I'm just trusting my comedic sensibilities. I try not to 120 00:05:58,520 --> 00:06:00,880 Speaker 2: please anyone. If I think it's I'll send it out 121 00:06:00,880 --> 00:06:04,760 Speaker 2: with someone out there that will appreciate it. I have noticed, though, 122 00:06:05,160 --> 00:06:08,000 Speaker 2: being published in America now, a lot of people there 123 00:06:08,040 --> 00:06:10,120 Speaker 2: aren't understanding it. Maybe it's we have a different sense 124 00:06:10,120 --> 00:06:14,000 Speaker 2: of humor. They like the idea or the joke more 125 00:06:14,040 --> 00:06:16,240 Speaker 2: telegraphed or you know, hit over the head with the joke, 126 00:06:16,640 --> 00:06:18,760 Speaker 2: where I'm a bit more understated and make you think. 127 00:06:18,839 --> 00:06:22,599 Speaker 2: So maybe that's the downfall. Yeah, generally, just my wife 128 00:06:22,680 --> 00:06:23,680 Speaker 2: is the only one that reads them. 129 00:06:23,760 --> 00:06:26,800 Speaker 1: Okay, all right, that is true about Americans, isn't it. 130 00:06:26,800 --> 00:06:30,719 Speaker 1: We know that with British sitcoms that have tried having 131 00:06:30,760 --> 00:06:33,719 Speaker 1: an American version and just flops like that. Obviously the 132 00:06:33,760 --> 00:06:36,040 Speaker 1: classic one that always comes to mind, is forty Towler's 133 00:06:36,120 --> 00:06:36,760 Speaker 1: just didn't work? 134 00:06:37,520 --> 00:06:40,080 Speaker 2: Yeah, most definitely, isn't it amazing? And yeah, the British 135 00:06:40,120 --> 00:06:42,920 Speaker 2: love me so again like Australia, I get a lot 136 00:06:42,920 --> 00:06:46,040 Speaker 2: of reader emails from them saying we appreciate it and 137 00:06:46,400 --> 00:06:48,520 Speaker 2: can't look forward to each morning in their inbox and 138 00:06:48,520 --> 00:06:50,320 Speaker 2: in the paper. So yeah, that goes really well. But 139 00:06:51,560 --> 00:06:53,880 Speaker 2: after three is in America, I'm getting there. There's getting 140 00:06:53,880 --> 00:06:55,679 Speaker 2: some love, but yeah, it's taking a while. 141 00:06:57,080 --> 00:07:00,640 Speaker 1: The Stanley Awards, the actual trophy is a very famous cartoon. 142 00:07:00,680 --> 00:07:02,640 Speaker 1: Isn't is it the same every year? I imagine it is. 143 00:07:03,360 --> 00:07:06,080 Speaker 2: It is correct, Yeah, from the famous cartoon of Stan Gross. 144 00:07:06,080 --> 00:07:08,640 Speaker 2: He drew a Cross. He drew a cartoon in nineteen 145 00:07:08,720 --> 00:07:12,520 Speaker 2: thirty three, and it's it depicts them one man dangling 146 00:07:12,880 --> 00:07:16,000 Speaker 2: sort of desperately while holding onto another man's pants which 147 00:07:16,000 --> 00:07:19,320 Speaker 2: are starting to fall down, and they're holding onto a 148 00:07:19,360 --> 00:07:23,280 Speaker 2: gird a high above a construction site. And yeah, he's saying, 149 00:07:23,360 --> 00:07:26,480 Speaker 2: for God's sake, stop laughing. This issterious though, And the 150 00:07:26,520 --> 00:07:30,720 Speaker 2: statuette he's basically a reproduction of that famous cartoon by 151 00:07:30,760 --> 00:07:32,920 Speaker 2: stand Cross. And that's why it's called the Stanleys. 152 00:07:33,120 --> 00:07:35,160 Speaker 1: That that has stood the test of time, that one 153 00:07:35,240 --> 00:07:36,640 Speaker 1: that is still funny, and. 154 00:07:37,000 --> 00:07:41,120 Speaker 2: Isn't it nineteen thirty three that cartoon was drawn, And 155 00:07:41,480 --> 00:07:43,840 Speaker 2: I guess it's a fitting symbol for like sort of 156 00:07:43,840 --> 00:07:47,040 Speaker 2: embodies in the Australian's sense of humor, where we find 157 00:07:47,160 --> 00:07:50,480 Speaker 2: levity even in terrible circumstances. The guy's hanging prepariously and 158 00:07:50,480 --> 00:07:53,520 Speaker 2: he's still laughing at it, but it comes up our culture, 159 00:07:53,520 --> 00:07:54,360 Speaker 2: in our sense of humor. 160 00:07:54,400 --> 00:07:58,280 Speaker 1: I reckon, yep, totally and that subtlety again probably lost 161 00:07:58,280 --> 00:07:59,200 Speaker 1: on Americans, but. 162 00:08:01,000 --> 00:08:01,440 Speaker 2: Definitely. 163 00:08:01,880 --> 00:08:04,720 Speaker 1: Yeah, it has stood the test of time. Is that 164 00:08:04,760 --> 00:08:06,600 Speaker 1: what you hope your cartoons will do is that? That's 165 00:08:06,600 --> 00:08:08,360 Speaker 1: probably every cartoon of stream, isn't it. Yeah. 166 00:08:08,400 --> 00:08:10,720 Speaker 2: I guess we all hope for that and at least 167 00:08:10,720 --> 00:08:13,280 Speaker 2: some spot of legacy. But yeah, I'm not ticking too 168 00:08:13,280 --> 00:08:15,280 Speaker 2: far ahead, but yeah, I hope to see. I try 169 00:08:15,320 --> 00:08:17,120 Speaker 2: to create ideas that are evergreen so you can pick 170 00:08:17,160 --> 00:08:19,480 Speaker 2: them up ten twenty years away and think, oh, yeah, 171 00:08:19,520 --> 00:08:21,840 Speaker 2: that's still relevant today, that's still funny. So that's what 172 00:08:21,880 --> 00:08:23,520 Speaker 2: I'm kind of in the back of my mind when 173 00:08:23,520 --> 00:08:27,120 Speaker 2: I'm writing, and because I'm published in Italy and Scandinavia, 174 00:08:27,160 --> 00:08:30,120 Speaker 2: I try to keep it fairly visual and not too 175 00:08:30,120 --> 00:08:32,240 Speaker 2: many play on words, otherwise that won't translate. 176 00:08:32,320 --> 00:08:36,480 Speaker 1: Yeah, yeah, how could Americans not find Ali Barba standing 177 00:08:36,520 --> 00:08:39,200 Speaker 1: by the magic cave. They're saying open sesame, and the 178 00:08:39,240 --> 00:08:42,319 Speaker 1: cave responding with please enter the verification code sent to 179 00:08:42,360 --> 00:08:43,920 Speaker 1: your camel. I mean that's funny. 180 00:08:45,480 --> 00:08:48,040 Speaker 2: Yeah, now that one they liked. 181 00:08:47,240 --> 00:08:53,400 Speaker 1: They good, Thank goodness for that. All right, So there 182 00:08:53,440 --> 00:08:57,640 Speaker 1: we are, Tony. If people want to subscribe to Insanity Street, 183 00:08:57,760 --> 00:08:59,160 Speaker 1: what's the best way they can do it? 184 00:09:00,080 --> 00:09:03,160 Speaker 2: Two ways. I can go to Tony Lopez dot com dot 185 00:09:03,160 --> 00:09:06,319 Speaker 2: AU and go to the shop and follow the prompt 186 00:09:06,679 --> 00:09:08,800 Speaker 2: and that you get a cartoon Monday to Saturday for 187 00:09:08,880 --> 00:09:12,360 Speaker 2: a year for twenty nine dollars ninety five. But you 188 00:09:12,400 --> 00:09:14,800 Speaker 2: know your listeners lactally, I'm happy to offer a year 189 00:09:14,880 --> 00:09:16,920 Speaker 2: for free, so if they reach out to me and 190 00:09:16,920 --> 00:09:19,200 Speaker 2: send me an email, I'll find them up for two years. 191 00:09:19,280 --> 00:09:22,319 Speaker 2: And the other way is comics Kingdom dot com. That's 192 00:09:22,320 --> 00:09:25,559 Speaker 2: an American site and King's features off for a subscription 193 00:09:25,640 --> 00:09:28,679 Speaker 2: model as well. But I'm sure your listeners would like 194 00:09:28,720 --> 00:09:31,880 Speaker 2: to keep the money in Australia to Tony Lopez dot com. 195 00:09:31,760 --> 00:09:34,920 Speaker 1: Dot are you lap yes, all right, Tony Lopez. Now 196 00:09:35,120 --> 00:09:37,439 Speaker 1: when did you realize you could draw? Tony? When how 197 00:09:37,480 --> 00:09:39,360 Speaker 1: did this start? I mean, please tell me you were 198 00:09:39,440 --> 00:09:41,840 Speaker 1: I don't know, a doctor or something, and thought, now 199 00:09:41,880 --> 00:09:43,640 Speaker 1: this is too hard. I'd rather draw cartoons. 200 00:09:43,679 --> 00:09:46,360 Speaker 2: I was actually a photographer, and yeah, I was doing 201 00:09:46,360 --> 00:09:48,720 Speaker 2: wedding photography. But I've always been drawing in the margins 202 00:09:48,720 --> 00:09:52,840 Speaker 2: of my school books, and you know, watching Thugs Bunny cartoons, 203 00:09:52,880 --> 00:09:55,320 Speaker 2: and I'd get the VHS and record it and then 204 00:09:55,400 --> 00:09:58,040 Speaker 2: pause it and copy Bugs Bunny and Donald and Daffy Duck. 205 00:09:58,480 --> 00:10:01,040 Speaker 2: So even Mum aways used to say in my bedroom 206 00:10:01,480 --> 00:10:05,080 Speaker 2: drawing so and even doing art in high school. I 207 00:10:05,120 --> 00:10:07,120 Speaker 2: always knew as a teenager, but I never really knew 208 00:10:07,160 --> 00:10:09,080 Speaker 2: he could make a career of it. And then I 209 00:10:09,120 --> 00:10:11,760 Speaker 2: once wrote to a cartoonist called Bob Daves, who used 210 00:10:11,760 --> 00:10:13,960 Speaker 2: to draw Frank and Ernest. I'm not sure it was 211 00:10:13,960 --> 00:10:16,840 Speaker 2: published in Australia that regularly, but he wrote back to 212 00:10:16,880 --> 00:10:18,720 Speaker 2: me from American and said, you know, if your works 213 00:10:18,720 --> 00:10:20,440 Speaker 2: good and it's universal, you'll be able to make a 214 00:10:20,480 --> 00:10:22,680 Speaker 2: career of this. And that sort of kicked up my 215 00:10:22,760 --> 00:10:25,480 Speaker 2: passion and drive to become a cartoonist, and I just 216 00:10:26,120 --> 00:10:29,080 Speaker 2: poured over it and kept sending submissions out. And I 217 00:10:29,120 --> 00:10:31,839 Speaker 2: do have a file containing two hundred rejections slipping through 218 00:10:31,920 --> 00:10:34,800 Speaker 2: various editors. But that just drove me to try harder. 219 00:10:34,800 --> 00:10:38,280 Speaker 2: And I remember one editor in Hobart Mercury actually saying, look, 220 00:10:38,280 --> 00:10:40,120 Speaker 2: I'm going to start publishing you because I'm sick of 221 00:10:40,160 --> 00:10:44,280 Speaker 2: you submitting constant submission. So it worked out well. So 222 00:10:44,360 --> 00:10:47,080 Speaker 2: about mid teenage years I started to realize that, you know, 223 00:10:47,120 --> 00:10:47,720 Speaker 2: I could do this. 224 00:10:48,240 --> 00:10:50,120 Speaker 1: Wow, so you've been doing it for that long? 225 00:10:50,960 --> 00:10:52,439 Speaker 2: Oh yeah, it's nineteen nineteen. 226 00:10:52,559 --> 00:10:55,920 Speaker 1: That's that's when you were mid teenage ninety five fifty 227 00:10:55,960 --> 00:11:00,640 Speaker 1: this year, So yeah, good for you. I mean to 228 00:11:00,679 --> 00:11:04,520 Speaker 1: make a living and be absolutely happy doing it. Yeah, 229 00:11:04,559 --> 00:11:04,920 Speaker 1: that's the. 230 00:11:04,880 --> 00:11:07,560 Speaker 2: Secret little world in Jarmas all day. 231 00:11:08,800 --> 00:11:11,600 Speaker 1: Nothing wrong with that. There's nothing wrong with that at all. 232 00:11:11,760 --> 00:11:13,719 Speaker 1: So brilliant. I mean, if it was me, I'd be 233 00:11:13,800 --> 00:11:16,320 Speaker 1: drawing stick figures and trying to capture that. You know. 234 00:11:16,600 --> 00:11:18,440 Speaker 2: Well, I do look back at my early stuff and 235 00:11:18,559 --> 00:11:21,400 Speaker 2: kind of cringe that. Oh wow, I've certainly evolved over 236 00:11:21,480 --> 00:11:24,040 Speaker 2: twenty five years. You know, like any artist, you get 237 00:11:24,080 --> 00:11:26,600 Speaker 2: beast Yeah that's right, yep, like any job. 238 00:11:26,880 --> 00:11:29,480 Speaker 1: Yeah yeah, how do you go with straight lines? Do 239 00:11:29,520 --> 00:11:31,880 Speaker 1: you use a ruler or just just your hand? 240 00:11:33,000 --> 00:11:36,240 Speaker 2: You know what, I'm actually pretty what's the word. I 241 00:11:36,360 --> 00:11:37,800 Speaker 2: drink a lot of coffee, but I don't shake. I'm 242 00:11:37,840 --> 00:11:39,040 Speaker 2: figuring a steady hand. 243 00:11:39,080 --> 00:11:42,520 Speaker 1: Somewhat too bad, that's good. I mean that what prompted 244 00:11:42,559 --> 00:11:44,400 Speaker 1: me was the dogs because I'm looking at the skirting 245 00:11:44,440 --> 00:11:46,559 Speaker 1: board thinking I can't tell if that's a ruler or 246 00:11:46,600 --> 00:11:47,520 Speaker 1: straight hand, but it's. 247 00:11:47,880 --> 00:11:51,360 Speaker 2: Actually I use a brush and ink, some really old 248 00:11:51,440 --> 00:11:54,480 Speaker 2: school I only scan the cartoons and the colored on 249 00:11:55,200 --> 00:11:58,000 Speaker 2: a program called Painter, which is a variation of photo shops. 250 00:11:58,200 --> 00:12:02,120 Speaker 2: It's all brushed with ink and a pen for the 251 00:12:02,160 --> 00:12:04,480 Speaker 2: speech balloon. So yeah, a lot of carts is now 252 00:12:04,520 --> 00:12:09,120 Speaker 2: working on iPads and cintique digital applications. But yeah, I'm 253 00:12:09,160 --> 00:12:12,560 Speaker 2: still a bit old, like having a tangible original in 254 00:12:12,600 --> 00:12:13,000 Speaker 2: my hand. 255 00:12:13,200 --> 00:12:15,400 Speaker 1: Yeah right, wow, And you. 256 00:12:15,320 --> 00:12:17,720 Speaker 2: Can kind of see what all the liquid paper masks 257 00:12:17,720 --> 00:12:20,800 Speaker 2: and mistakes I've made. But yeah, I haven't progressed that 258 00:12:20,920 --> 00:12:22,679 Speaker 2: far yet into the modern world. 259 00:12:23,160 --> 00:12:26,360 Speaker 1: Tony. Great speaking with you again, best wishes for it 260 00:12:26,400 --> 00:12:29,800 Speaker 1: to continue. And obviously you're doing very well over the 261 00:12:29,880 --> 00:12:32,720 Speaker 1: last thirty five or so years, so that's that's brilliant 262 00:12:33,160 --> 00:12:36,000 Speaker 1: and may may it long continue. Thank you for your 263 00:12:36,000 --> 00:12:38,760 Speaker 1: time and congratulations on your fifteenth Stanley. 264 00:12:39,280 --> 00:12:40,760 Speaker 2: Thank you, Matthew, much appreciated. 265 00:12:40,880 --> 00:12:42,720 Speaker 1: Good on you. I'm sure we'll speak again, maybe on 266 00:12:42,760 --> 00:12:44,800 Speaker 1: your your twentieth or something. It's been a few years 267 00:12:44,800 --> 00:12:47,720 Speaker 1: since we did chat, but I'll keep you. Yeah, thank you, 268 00:12:47,760 --> 00:12:51,760 Speaker 1: Good on you. Tony low pads are artist for Insanity Streak.