This interview appeared in a small zine, and it’s appearing here as well. Check out Charles Brubaker’s LAUREN IPSUM on this site! He does everything on paper!Read on Substack
INTERVIEW WITH NANCY BEIMAN SEPTEMBER 1, 2023
By Charles Brubaker
Nancy Beiman is best known for her decades-long work in animation, having animated for Warner Bros., Disney, Bill Melendez Productions, among others. However, on December 2022, at the age of 65, she ventured into a world of cartooning she hasn’t tried yet: a comic strip. The result was FurBabies, which made its debut on GoComics.com on June 5, 2023. The strip features Kate Buffet (pronounced boo-fay), an imaginative 9-year-old girl who can talk to her pets, dogs Stella and Shawm and their puppy Sirius, and Floof the kitten.
I interviewed Nancy about the comic via email. The following interview took place between August 12 to 16, 2023, and has been lightly edited for clarity.
What were your earliest cartooning influences?
My influences in animation were Chuck Jones, Charles M. Schulz, Robert Osborn, and Walt Kelly. I loved Zoltan Grgic’s work for the Zagreb animation studio. I was very fond of the UPA style but at the time did not know any of the artists’ names.
I met two of my influences and worked for one of them.
Speaking of Schulz, I remember you discussing your work on It’s the Girl in the Red Truck, Charlie Brown (1988) and how you animated Spike for it. What was your most memorable experience on that special?
Just working on a pantomime character was a liberating experience. I asked Bill Melendez who was the lead animator on Spike, and he said “You are. He’s never been animated before!” I loved using my knowledge of silent film comedy to block action on Spike. He walked like Chaplin (with those big feet) and did deadpan comedy like Keaton. He was a lot of fun to animate. That film is the most obscure of the Peanuts specials and should not be. It combined live action and animation (with the animated characters considered a ‘normal’ part of the live action world) two years before Who Framed Roger Rabbit. But CBS didn’t see any opportunity to sell toys, and it was not associated with any holiday, so they did not broadcast it until after Roger Rabbit was a hit. The Girl in the Red Truck was there first.
While you were getting started in animation did you think of doing comics? Were you published anywhere during your early days in the field?
I never considered doing comics at any time before December, 2022.
So FurBabies really is your first in the world of comics? What was the development process like? Which characters were created first?
I first got the idea for a comic strip about a kid who can talk to her pets as family members (rather than pets) in mid-December 2022. I drew up some sketches on December 24 and got Stella, Sirius, and Shawm immediately. They have changed very little since then. Kate has changed a lot. Here are the first sketches of her.
“Catt” drawn on December 24, 2022.
Floof is adapted from a cat design that I made for an unfinished film, Old Tricks. I used only the head and redesigned a kitten body. Floof has changed a bit since then. The head was that of an adult cat; she became more kittenish and cute after I drew about 10 strips. I had to go back and redraw some early Floofs when the strip was picked up by Andrews McMeel/GoComics. Kate was the hardest to create, and she was originally named Catt. She is inspired by Pippi Longstocking and a few students I have known (and they don’t know.) I had the character lineup, with Kate as Catt, on December 23, and changed her name to Katt, then Kate, on December 29. That’s when the characters were copyrighted.
Lynn Johnston saw the lineup on the 29th and instructed me to write 24 short story outlines, one sentence or so each, with dialogue. I got them done on New Year’s Eve. “You’ve got something. Can you keep this up?” Lynn asked me. I answered “Yes”. “Then draw 24 comics and let me know when they are done.” The first FurBabies comic strip, which is actually the first one on the GoComics site, was drawn on January 4, 2023. I used a 1926 Esterbrook “Radio” 914 pen nib once owned by Charles M. Schulz, on hot pressed Bristol board. It’s a gorgeous nib, but it is difficult to use a dip pen when you have inquisitive cats in a small apartment/studio. All subsequent strips were inked with a Pentel brush pen. All character art and backgrounds are drawn on paper, then scanned.
While we’re on art tools used in the comic, how big do you draw the strips? How do you color the comics?
I don’t draw ‘the strips’. I do rough scribbly thumbnail layouts for them, the most detailed are done for the Sundays. Each Sunday strip has a different layout. The characters and backgrounds are inked on paper, all of them separately. I use old animation paper or Italian hot press paper and draw a light rough, then ink with a Pentel brush pen. Characters can fill the entire page or be smaller, depending on the complexity of the drawing. I’ll do a drawing over if I don’t like the first one, and sometimes modify the scan in Photoshop. The backgrounds are often reused. I save each image as a 300dpi .bmp file and composite them on digital templates for 2, 3, or 4 panel strips. The digital dailies are 17 inches wide. Sundays are 24 inches wide. The finals are saved as TIFF files at GoComics’ recommended size…which means they are half to 2/3 of the size of the PDF files I work on. Only the first strip (June 5) was drawn with characters and backgrounds all on paper, like a traditional comic…I work much faster using animation methods. I use whatever works, the technology is not important.
Coloring is done in Photoshop using brushes that mimic pastel and watercolor wash. I work on top of the black line to continue the illusion that it was ‘painted’ on paper. Even the borders of the strip are ‘fuzzy’ and characters sometimes break through the panels. Sunday strips are designed to be graphically pleasing and planned on paper but still done piecemeal, animation style.
Sunday strip, December 10, 2023.
The writing method Lynn Johnson suggested, with 24 one-sentence outlines, is an interesting technique for plotting out comic strips. What’s your overall writing method like once you got your strip off the ground?
I continue to follow Lynn’s method. It’s not a one sentence log line: dialogue and location, sometimes action, is always included. I often change things when I actually draw the characters since I still think in visual story, like an animator. Lynn’s method is the best way to keep a comic on track. It shows you where you are going and what characters can do. You can change the script order before you draw the strips.
Like animation dialogue, scripts and action for the comic are often changed when I get down to the drawing. Short scripts are the best way to get a series going, to plan when new characters are introduced, and develop characters. Lynn also suggested that I use a monthly planner (a book with the entire month on one page) to plan and time the storylines. That was a lifesaver. Several storylines have been moved since I started drawing the strip in January and wintry themes were out of place in June.
You recently introduced Pratt-L, an AI chatbot Kate uses to cheat on her homework. Do you have concerns about the use of AI in creative fields? What was on your mind when you wrote the arc?
I tried out AI’s writing and art programs when they were available for free trial and found them completely incompetent. Pratt-L combines the worst features of both. It is the perfect villain for this strip since the main conflict is between organic lifeforms and technology. This conflict developed as I got to know Kate better. She was the hardest one to write for.
Some modern comics have child characters that never stream videos, play video games, or use cell phones. Tauhid Bondia deliberately set Crabgrass in 1985 before these things became common and life changed for children. Kate Buffet is nine years old, lives in the 21st century, grew up in the age of smartphones, influencers, and streaming videos. Kate is not lazy or stupid but has a quirky way of thinking that does not match what is expected of her, especially in school. She has a lot of curiosity and it’s only natural that she would try the new AI technology. She has the latest digital technology. I made the rest of the apartment furnishings very dated, to show the contrast between Kate and her parents. There are some subliminal messages (family friendly ones) in the backgrounds. For example, the refrigerator is a Calder, named after the artist. Pratt-L wants to be a friend, is completely incompetent, sometimes snarky, in need of constant approval and self-pitying (depending on what it is scraping), but not a dangerous threat the way it is in real life.
There will also be an ‘influencer’ in FurBabies. It will not be human.
AI is not a matter of concern; it is literally going to be a matter of life and death. There is a bill in Parliament recommending that it be allowed to write medical prescriptions in Canada. What could possibly go wrong? People are not taking it seriously as a threat because artists and writers are the first ones affected by it, and most people do not consider art to be a ‘real job’ (My Labor Day strip addresses that issue.) I am most surprised by artists who keep insisting that it is ‘a tool’ like Photoshop. There is a difference. Photoshop allows you to personally modify artwork and photos. I use my own photos for backgrounds, and I sometimes use pictures from the Web for dogs and cats, but always redraw and redesign what I see. Photoshop does not use a bot to ‘scrape’ material from a million other artists and then ‘create’ art which you claim as your own.
My biggest surprise is that some artists think that it is fun to play with it. I think that they are like rabbits admiring the scales on the snake that is about to kill them.
Pratt-L’s quotes are from an actual ‘robot press conference’ held in Zurich a few days before this strip was published.
There’s a strong “family” theme in your comic, with how Kate views her pets to Sirius and Floof referring to Stella and Shawn as their mom and dad. Will this dynamic be explored more further as the strip continues?
The animals are definitely a family. The Dog Family has accepted Floof as one of their members. Kate is a link between the Dog Family and the Human family; she can speak to both, but only one of them understands her. She knows that she really is not a Dog or a Cat. It’s an interesting dynamic, and since the characters generally ‘tell’ me what they will and will not do, I am not sure if Kate’s situation will change. I also don’t think the human parents will appear, except as offscreen character voices. It’s not that they don’t interact with Kate…I just don’t find them interesting enough to include in the strip. It’s told very much from the animals’ point of view unless Kate is in school without them.
June 5, 2024. The Dog Family.
Early in the run most of the strip focuses on Kate and her pets, although newer strips start to include more characters, like in the recent Scavenger Hunt story arc. In addition to Kate’s classmates you also had her interact with Little Fingers the raccoon. Will we see more of Kate interacting with other kids in her class, and more of Little Fingers and other animals Kate can talk to?
Optima “Poppy” Populare and Iris, the two girls on the scavenger hunt, are not interesting enough to do much more than snark. “Poppy” returns in school and in some Halloween strips. There will probably be a few more kids appearing later on, with their own pets, probably in the dog park or maybe in the apartment building. Little Fingers the raccoon returns in November, but he’s a wild raccoon. He won’t ever interact with the other animals.
You indicated in your newsletter that you have a backlog for your comic. How far ahead are you currently?
I am currently working on strips that will air in October. I am proud to say that not one of them involves a pumpkin! (Charles M. Schulz covered that territory very well.) I like to stay about two weeks ahead of deadlines, and originally was two months ahead due to the late start in 2023! That gave me the option of shifting the cartoons, or changing them, as I got to know the characters better. I can also take a week off without worrying about comics not appearing.
Since FurBabies is still a very new comic and I am still redefining myself as a comic strip creator, I moved story lines or reworked some existing strips after I had enough comics that showed the characters’ developing personalities. Some people who have seen months of the strips in continuity tell me that they read better ‘as a whole’ but that is not the way comics work; it’s taken one day at a time. FurBabies is not a ‘gag’ strip, it’s character driven, so there were a lot of changes. Some of the cartoons that ran in June were originally drawn for September.
Things are settling down now. Some readers are adjusting to the fact that Kate is not a ‘perfect’ little girl, she sometimes tries to cheat on homework with AI (and gives up), or that she can be a distraction in class. I finally figured out who she was when she took her burned cookies and sold them as dog biscuits. Kate makes plenty of mistakes, but she has a creative way of dealing with them.
It’s an interactive site, and it looks like a fine resource. I’m not aware of problematic things with GLAAD, but am aware I don’t see them mentioned here, so if there is something I’ve missed about them, please let us know. Also then, my apologies. But this looks like an excellent resource, so I hope they haven’t messed up anything for people. The blue GLAAD Weather Watch below is the link.
This year, anti-LGBTQ extremists are continuing their dangerous mission to ban LGBTQ people from access to bathrooms, schools, sports, and medical care. We need your help to defeat bad legislation, and to celebrate wins: Tune in to the GLAAD Weather Watch and sign up to receive updates of how you can take action!
Historic lesbian activist Sally Gearhart is featured in Deborah Craig’s new award-winning documentary Sally!
Most people have heard of Harvey Milk. Sally Gearhart—not as much. But in fact, Gearhart sat right beside Milk as his debate partner in 1978 when they disputed—and ultimately defeated—Proposition 6, the Briggs Initiative that would have banned lesbian and gay teachers and topics in California’s public schools. When their opponents quoted the Bible, Milk was at a loss. Gearhart, on the other hand, could quote it right back at them. Born in 1931 into a Christian household in Virginia, Gearhart charted her own unconventional path from a career as a teacher at Christian colleges in Texas until she determined …
Throughout the 1970s I was in love with Keith McDermott, ten years younger than me. When I first met him, I was living in a third-floor walk-up studio on Horatio Street in the West Village. He was living across the street with Larry Kert (he’s dead), the original young male lead in West Side Story. I was one of Larry’s rainy-day fucks—he’d call me midday or early evening when he was horny and the weather forbade open-air cruising (snow, rain, or tropical heat).
Maybe I met Keith at Larry’s or through someone else; I don’t remember. Keith was living rent-free with Larry. They’d started out as lovers but now, after a year, Keith was expected to help in maintaining their big, luxurious apartment by cleaning and doing chores—and disappearing when Larry had a trick he was bringing home.The sound of the whirring wheels as he came racing around the corner and glided to a halt became the very whisper of desire for me.
Keith wanted to move and I had a lead on an eight-room prewar apartment on the Upper West Side, a block away from Central Park and just four hundred dollars a month. The landlady lived downstairs from us and had decided to rent only to gays—but, what narrowed the field, gay men without dogs. In those days gay couples had dogs, not yet children. We were too poor and unsettled to think of wanting a dog. It never crossed our minds.
Keith was a famous beauty (famous in the West Village and Fire Island among gay men). He was blond, blue-eyed, just twenty-one, and perfectly formed (an expert gymnast). In good weather he rode his bike everywhere. The sound of the whirring wheels as he came racing around the corner and glided to a halt became the very whisper of desire for me. He was fleet, funny, and so handsome that Bruce Weber, the most famous photographer of handsome men back then (Abercrombie & Fitch, GQ, Calvin Klein), took his picture. Weber’s men, often nude or in wet white underpants, were twenty-something, athletic, Ivy League, and passably heterosexual—perfect eye candy for gay men of the period, who liked their men to be iconic and unobtainable, i.e. straight.
Of course I wanted to sleep with this beauty, but he found a way to forestall my lust. He said he was sick of “meaningless” sex and invited me to join his chastity club. We could sleep side by side as long as we never touched. I was content to have that constant access to his beauty and company—and he was happy, I guess, to reap the devotion of a fit, charming, bewitched man in his early thirties who was just publishing his first novel. Before long we were living in our vast eight-room apartment. Whenever I would buy an ugly but big dining room table and six high-backed chairs at Goodwill, Keith would be so outraged that he would drag the furniture out the front door into the hallway. He was a resolute artist and had a horror of looking or being middle-class.
Keith was careful with his “instrument,” i.e., his body. He drank tiny cups of liquid buffalo grass, ate sparingly, mainly vegetables, and visited the gym daily for two hours, where he’d twist and turn on the exercise rings, climb ropes, and strengthen his arms and core, his shoulders and legs, but he never wanted to become a heavily built muscleman. He was a Peter Pan, the puer aeternus. I was abject in my longing for him. I can’t bear to recall the scenes of my crawling toward him, arms outstretched, or the moment when I saw him as an emanation of God. Once I organized an orgy of several guys I dragged back from the Candle Bar in the neighborhood, hoping to be able to touch Keith in the melee. It worked.I can’t bear to recall the scenes of my crawling toward him, arms outstretched, or the moment when I saw him as an emanation of God.
Larry Kert had had a cruel streak—maybe that had rubbed off on Keith. Or maybe my idolatry was just that absurd and I needed vinegar poured in my wounds. I suppose some of the mystical strains in Nocturnes for theKing of Naples, the book I was writing then, were a spillover from my almost religious love for Keith.
And then Keith was cast in the Broadway hit Equus, in which he was naked onstage eight performances a week for years. Dirty old men would sit with binoculars in the front row night after night. A pimple on his ass would send Keith into an anxiety attack. He was brilliant in the role; I saw him in the play dozens of times opposite Richard Burton or Anthony Perkins. It was such a titanic strain (no colds, no hemorrhoids, no weight gain or perceptible loss), thousands of lines, gymnastic feats blinding the “horses” (dancers dressed as stylized horses), rowdy adolescents seated in the cheap seats onstage making wisecracks, kids who were so used to TV that they thought these performers, too, couldn’t hear their remarks. His life became one of iron discipline. I like to think he even came to appreciate our domestic life.
He moved to Los Angeles but was a little too openly, rebelliously gay for Hollywood in those days (no one wanted to see the fag kiss the girl and there were almost no gay roles in the seventies). Then I moved to Paris for sixteen years. When I came back to New York in the late nineties, Keith was living with a sweet, talented Israeli painter; he’d mellowed, was just as funny as ever, became a close associate of the avant-garde director Robert Wilson.
Keith himself directed plays at La MaMa and had published a book. We’re great friends. He insists that I helped form some of his tastes in music and literature. His own curiosity and experience in so many domains of the arts, however, didn’t need my influence, I’m sure. When I told him I’d be writing about him in my sex memoir, he said, “Just say I have a big dick.” That’s easy—his dick is huge.
My country, ’tis of thee, Sweet land of liberty, Would I could sing; Its land of Pilgrim’s pride Also where lynched men died With such upon her tide, Freedom can’t reign.
My native country, thee The world pronounce you free Thy name I love; But when the lynchers rise To slaughter human lives Thou closest up thine eyes, Thy God’s above.
Let Negroes smell the breeze So they can sing with ease Sweet freedom’s song; Let justice reign supreme, Let men be what they seem Break up that lyncher’s screen, Lay down all wrong.
Our fathers’ God, to Thee, Author of liberty, To Thee we sing; How can our land be bright? Can lynching be a light? Protect us by thy might, Great God our king!
This poem is in the public domain. Published in Poem-a-Day on February 1, 2025, by the Academy of American Poets.
As always, click the title to get more about the poet and their work.Today’s background is especially poignant, and work the click.
Wow oh wow! This is a great video and a must watch video if you support trans people. I wouldn’t have expected a man of the Christian faith to come out for trans people but never would have expected them to do this that strongly and seriously. I watched it twice to be sure I heard what I did. After I post this I will watch it again. I am not even sure how to post this in the labels. Hugs and loves. This is why I really like this Christian man. Hugs
This is the comment I left on this post. I wonder if he will reply. Hugs
Hello Rev. I had only commented once before where I asked you if a caring loving atheist such as myself could find a place in your god’s paradise. You welcomed me and told me I did not have to believe in the supernatural but live a decent life helping others as I could, which I had said I did, you replied I was totally accepted by your god. I was honestly surprised by your answer. Since then I have followed your channel and often posted it to my blog. Most of my readers are not religious but all are caring wonderful people of different faiths, sexual orientations, and some are trans. But all have found wisdom in your videos. I thank you for this one. The trans community and trans kids are under heavy attack in the US. I suspect because it undermines the cis straight majority that has long ruled the US, but also driven by religious people who feel this allowing their children to be who they wee born to be, LGBTQ+ is an affront to their god they will be held to account for. Thank you, Hugs. Scottie
Cal Arts stories can wait a while. This is importance. Read on Substack
It’s hard to believe how much the world has changed since 2020.
I started drawing panel cartoons and comic strips in March, 2020 as the COVID 19 pandemic changed daily life. We were in lockdown starting in March. No one thought it would be for long.
There were jokes about toilet paper shortages though I never noticed any. Guess where most of the toilet paper is made?
This was my first cartoon, drawn to cheer up the neighbors on March 18, 2020.
I continued drawing the cartoons until January, 2022. (sometimes with large gaps between depending on what was going on outside, and my level of depression). The first Corona Diary cartoon appeared on April 18, when the ‘four week lockdown’ was supposed to end. It didn’t.
Thee first Corona Diary cartoon. April 18, 2020.
I never intended to draw more than one of these cartoons, just like I never intended to draw a comic strip. As the lockdowns got longer and longer, I kept on drawing them and sending them on social media and emails to a lot of very scared people.
They were intended to cheer people up and let them know what was happening here. The Canadian experience was very different from the American. Toronto became one big community. People wore masks and considered other people’s health along with their own. Prime Minister Trudeau had daily press conferences where he spoke of what was going on and what the health ministers thought could help.
People paid more attention to hygiene. I may never shake anyone’s hands again.
We would stand on the apartment roof and bang pots and ring bells to thank the nurses and first responders who still had to go to work.
and generally stayed out of crowds.
How different from today. Some people think that if it doesn’t immediately affect them, it isn’t happening. Back then: we knew that we were all connected.
There were ‘anti maskers’ before there were ‘vaccine deniers’. I caricatured the worst of them and decided that I didn’t want their ugly faces in my files, or future book. This cartoon is a replacement showing how we improvised masks in 2020, when there were no N95S available for anyone other than essential healthcare workers.
I discovered that ‘non woven material’ could be found in the cheap shopping bags in the market. The bags could be cut up and used as filters in cloth masks. Other people matched their masks to their outfits.
Replacement cartoon for one that I won’t publish and didn’t keep.
Why am I publishing this today? Because we are in danger of another pandemic, the first one is by no means over, and there are people who deny that any vaccine, anywhere, ever worked.
I’m willing to bet that most of us would not be alive today if it weren’t for childhood immunizations. You have only to walk through an old cemetery (pre 1950) to see many small gravestones commemorating children. These become less frequent after 1950 because of polio, measles, and mump immunizations.
I don’t want to live in the mid 19th century, and certainly not in the Dark Ages. (snip)
Amanda Nguyen is an activist. And a bestselling author. She’s also a Nobel Peace Prize nominee, founder of a nonprofit, and she happens to love makeup. (Oh, and one more thing: She is the first Vietnamese woman to go to space.) A quick scroll on her Instagram feed reveals snippets of her incredible career, which has spanned her groundbreaking aerospace achievements, critically-acclaimed memoir Saving Five, appearances as TIME’s Woman of the Year, and her work with Rise, a non-governmental organization she created to protect sexual assault survivors. (In 2016, the United States Congress passed the Sexual Assault Survivor Bill of Rights after she publicly testified, which guaranteed, for the first time, statutory rights in federal code for survivors of sexual assault and rape.) Point is, she’s already a veritable force for change — but wasn’t too busy to add one more line to her already-impressive CV: Star of e.l.f. Cosmetics’ Show Your(s)e.l.f. campaign.
The editor-beloved makeup brand is known for its accessible, high-quality products, but it is a shared mission of inclusivity and joy of beauty that made this partnership a natural fit for Nguyen. “e.l.f. is all about democratizing beauty,” she tells Refinery29. “And for me what that means is seeing myself reflected in the ways people consume beauty, either through content, film, or advertisements — and I actually do use e.l.f. every day.”
In addition to the campaign film, Nguyen is preparing to literally take flight as she embarks on an upcoming space expedition with Blue Origin, making her the first Vietnamese woman to go to space.
In our latest Power Diaries, the trailblazer candidly speaks about how she stays inspired and empowered, and shares more about her new role as an e.l.f. ambassador.
I feel most powerful when…
I show up as my authentic self.
Power to me means…
The freedom to make my own choices.
What do you do when you feel powerless?
I remember that no one is powerless when we come together and no one is invisible when we demand to be seen.
What’s your power anthem?
Our voice. It’s the most powerful tool we have, so use it.
Who is your power icon?
My power icon is Sally Ride. She trailblazed so that I could fly.
What do you wear when you want to feel powerful?
I wear red lipstick.
Keep reading for the rest of our Q&A with Nguyen.
(snip-More on the page; not all about makeup. Click the article title above)
