I admit, I didn’t know yet what it’d be, only that I knew that at some point i would know, and she could open it. But I liked the gag anyway.

I find it interesting, that if one character despises another (like Lenny expressed in regards to Paul), it seems a little mean or petty. But if it’s returned, it makes it a bit more fun.

It’s like throwing snowballs at someone, unless your target wants to throw them back as well, you’re kinda’ being a jerk.

Sometimes I suspect cats know exactly how gross they’re being.

When things go the way you want, you must always be careful not to protest too much.

I needed a good reason for Bruno to leave New Orleans, and the desperate request from an uncle and aunt who loathe her seemed a perfect solution.

And more of the same, taunting the caged declawed lion.

Are, more having Bruno being cruel to me. Fun-fun.

The background was one of the first mood-backgrounds I attempted, this one inspired by rainy backgrounds found in the strip Calvin & Hobbes.

In general I avoided trying to write dialects this strong in Bruno, but this was an actual conversation I had with a man on the street, as best as I could record it after the fact.

I now know what a corn is.

While in New Orleans, I contemplated many times drawing portraits for money on the streets. I’m not sure if I truly thought I wouldn’t be good at it, or if it was merely fear, but I never did. So I had Bruno do it.

This is a very odd strip (in the early strips especially) because of the use of black. To explain, I’ll have to take you back to high school, where a teacher told me that the things that add value or make something “artistic” in illustration are: use of blacks, and variable line weight.

This was one of the main reasons in Bruno that I used neither. I was young, it was a stupid reason, but the end result was that I learned a hell of a lot.

Give yourself good limitations or a nasty crutch, and you’ll be amazed at the solutions you can fine.