The Cartooning Workshop I'll Never Forget

One excited old man crashes an already upside down class.

Cartooning workshops I teach are a lot of fun and ordinarily predictable.

They work how you’d expect. You advertise to a particular age group of kids, that age group shows up at the school or library, and we draw comics together. Everyone learns something new and leaves getting what they signed up for.

It didn’t go exactly this way at the one I taught last week.

I met an interesting man who showed me that sometimes classes might be the opposite of what you're accustomed to, so always be ready for anything.

When I say the class was opposite, I'm talking about Bizarro world opposite.

This particular one was advertised for teenagers—which worried me because I’ve never done one for that age group, and I was afraid they wouldn’t show up—they’re not who I would think would be interested in group cartooning lessons.

Cartooning classes are always packed when I hold them for elementary and middle school age. The younger kids love them! Teenage artists tend to hide away in their rooms or with their close friends.

I remember my mother signing me up for a comic book art class in high school, and I couldn’t wait to go. Classes about making comics were impossible to find back then, so I was definitely going. Of course, I was the only teenager there; all the others were elementary school students, but I had a blast.

Unfortunately, my suspicions about how many teens would show up for my class this time were correct.

I was surprised because I can never get any students I usually teach art to at my school to attend these library events. The first person to walk in was one of my sixth graders, let’s call her Amy, who lives in the area and saw that her art teacher was holding a cartooning class at her local library and was excited to join.

Very cool, I thought. I don’t usually get students I know, so this might be fun and more relaxing than my regular workshops.

I’m always put in a classroom with a whiteboard to draw for the students, but this colossal presentation-style room didn’t have one. Luckily, the kind librarian who invited me found a large paper pad and an easel.

We were off and running!

The only problem, no one else was coming in, and it was time to start. Would we only have one student? A student I already teach?

“Let’s give another few minutes for people to arrive, and I’ll make an announcement on the intercom for the whole library.” said “Judy,” our librarian.

It worked. Gradually people started showing up.

A lovely family with a middle school-aged daughter and an elementary-aged son walked in with their dad, excited to sit down and draw.

Not teenagers, though.

A mom and her six-year-old son came skipping in, ready to draw.

Still no teenagers.

Right before I started the class, a woman stopped at the door with her one-year-old daughter looking in like she was eager to join.

Um, was this for her or her child?

Judy, the librarian, ushered them in and gave them paper and pencils. Maybe Mom likes to draw? Her toddler daughter sat quietly with a pencil in her fist, scribbling along with everything. I guess this is fine.

Not one high school teenager in sight.

I introduce myself and share my Fried Chicken and Sushi book collections and Youngbloods graphic novel. Just as we start getting into how to draw interesting cartoon faces, an older man, maybe in his late sixties, is standing at the door staring inside at us with wide eyes.

He was eager to join the drawing fun and immediately lit up, shouting, “Is this class open to the public?! Is this for anyone?! Can I join?!”

I reluctantly said yes. He wasn’t a teenager, after all. But that didn’t seem to matter today.

Librarian Judy didn’t tell him no; maybe she recognized him as a regular.

The man excitedly shouted, “I normally just come to the library to make copies! I didn’t know they had drawing classes.”

He strutted in, grabbed a paper and a pencil, and immediately sat beside my sixth-grade student, Amy. Plenty of other tables were open, so she was mortified he chose to sit right next to her.

“What’s your name?” He enthusiastically asked me.

“Khalid. Nice to meet you.” I responded.

“Cali? Did you say, Cali, like short for California?!”

“Actually, it’s Khalid. Khalid Birdsong.” I clarified.

My last name caught his attention, “Birdsong! Like a singing bird?! Tweet tweet!”

I forced a laugh and went on teaching.

I wish he quietly listened and followed along with my cartooning lesson, but dealing with his behavior felt similar to teaching six-year-olds. He continually shouted out responses to my drawings and tips throughout the class.

It was difficult to get mad because he was charming and flattering to my artwork, albeit loudly.

“Wow! You’re pretty good at drawing, Birdsong!” he shouted a couple of times.

“Hey, you’re cheating and making this look easy!!”

You know those times when you realize you’ll have to practice patience, and the phrase "grin and bear it" is all you can do? I was deep in the bearing it stage.

When I taught them how to draw characters, he continued to talk and shout his amazement at my drawing skills. Flattering, yes, annoying, most definitely.

The librarian tried to shut him up. Politely.

It didn’t work.

I smelled no liquor, but he still could have been a little drunk. Maybe he was genuinely ecstatic to draw again in a real class environment. We’ll never know.

By the end of the hour, he was eager to come up and look at my books and original art. I appreciated his interest and kind words, but it made giving time to the other students difficult.

He gave me his drawing, and it was pretty good. Perhaps he enjoyed drawing at one point in his life and gave it up or lost interest at some point.

The mystery man’s actual drawing from class that day.

I know I’m tall, but I didn’t think I looked as big as he made me in the drawing. I look super huge!

He didn’t put his name on it, so I told him an artist has to sign their work before giving it to someone. It looks like his goal was to stay anonymous because he only signed it as Doodlers 7575. Maybe he somehow knew he’d make an impression on me, and I’d share this story.

When he was ready to leave, he walked towards the door and shouted an enthusiastic farewell.

"Hey, Birdsong. Keep TWEETING!"

I smiled and gave him a nod. My cartooning workshop for teenagers without any teenagers turned out alright.

Definitely, one to remember.

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Even though I was having fun sharing about this unique class experience, I wanted to make sure to thank all the librarians and schools who’ve invited me to teach cartooning to their students and communities.

It’s one of my favorite things I get to do, and I’m blessed to have people who believe in my work and the power of visual storytelling.

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This article originally ran in my Substack email newsletter, A New Creative Life.

You can join us by CLICKING HERE.

Is Talking Openly About the Black Experience Risky?

I was afraid to post this comic strip, but I knew it had to be said. America is a dangerous and downright scary place for Black people. Even though no area you live in is perfect, there are some countries and even cities where you can feel more like yourself.

I found Osaka, Japan, to be one of those places for me. If you travel enough, you’ll find yours. Is it acceptable, however, for me to talk about racism in a cute family comic strip intended to make you laugh?

I lived in Japan for two years teaching English, but now I live in the U.S. and visit Japan every year. Making a point to soak up the peace and experience the culture. Don’t get me wrong, there are aspects I love about my home country.

Let’s be real, though, it’s tough on black folks in the states. The fear of racism and police brutality makes everyday life feel scary when you’re doing just about anything.

I think it’s important to address racism and perception in comic form and get people thinking. Even if the humor just makes you uncomfortable. As a Black man, my work wouldn’t feel authentic without it. The character, J, in this strip, is communicating how I feel while living in or visiting Japan as a Black man.

Free to be me.

Even though it’s told from a child’s point of view in this strip, the sentiment comes from my raw emotions and frustrations. But I was nervous about posting it and almost didn’t. You want to know why?

I was concerned about hurting white people’s feelings.

The comics and articles I create are not made to upset anyone but give my perspective, as a Black man, on the world and how I see things. In the past, after posting a series of lighthearted comics and then suddenly putting a strip out stating America isn’t a perfect union, mainly white people get upset.

It’s like they can’t handle the truth. Could it be certain white folks think I don’t have a right to express my frustrations and concerns over how people of color are treated in America? Like I can’t talk about my people and our struggles through an art form I love. Maybe, I should just stick to the silly jokes.

I know, free speech works both ways. If I can say what I feel in my work, people should have the freedom to comment on it. Yes, but when you do, please pay attention to your privilege.

Are you trying to tell me I’m wrong for how I feel? If you think my comics are now “complete garbage” from one comic strip and you can’t read them anymore. Why? Are there deeply held beliefs that need changing, lurking deep inside you? When you read through my archives, plenty of previous Fried Chicken and Sushi comics tackled racism and prejudice concerning people who are different.

White people get to choose what they believe about racism even though they haven’t experienced it directly. Being a part of the majority, they get to say ridiculous things in the comments of my comics. Like, “This is racist.” or an insult dressed up as a compliment, “I don’t see color” (please see my color, I happen to love it) or “Racism doesn’t exist in America anymore.” Does anyone really believe that?

Black people have to live with and take the blows associated with racism daily. Just because you aren’t seeing racist acts in your neighborhood or workplace, doesn’t mean they don’t exist.

I like showing that we all have other choices of places to live in the world. The truth is, it ain’t easy traveling abroad either. Finding work that pays enough to live on, and securing a way to stay there for many years — like getting your visa sponsored by an employer or becoming a permanent resident. But it is possible if you want it bad enough.

Notably, in Asia. You will deal with prejudice and ignorance about your race, especially if you’re Black. Still, the lack of fear and hate over your skin color brought on by systemic racism makes up for it.

The freedom that comes from living in a country like Japan — not built on the backs of free labor from African slaves — feels exhilarating. People see you as a person, a very different person than them for sure, but not someone to fear as a threat to their livelihood.

I know all of this and feel strongly about the benefits of living in Asia. I’m choosing, however, to work in the U.S. right now. I find it easier to get work that pays well, and I like engaging with a diverse group of people. When I need a break, the money I put away for travel helps me escape to Japan, the Philippines, or Hong Kong to get a different experience.

Where I can be just a foreigner.

Returning to my home country from trips abroad can be a tough re-entry. I get hit with the reality that most American citizens still do not fully see or understand. You hear the words “Black Lives Matter” but Black people are still treated poorly. This “BLM” phrase doesn’t mean all other lives have it easy. It means Black lives, particularly in America, need to matter now more than ever. Our house is the one on fire in the neighborhood. It’s the one that needs the most attention right now. Let the fire department put out the flames. Should they spray all the other homes on the street with water, just to be fair?

I think things are getting better. The above FC&S comic received mostly supportive comments and started conversations on GoComics around the benefits of travel and having an open mind.

It was a risk I was glad I took. Please become comfortable listening to what Black people are saying about their experiences, hopes, and challenges when expressed through their writing and creative work.

Give us a chance to matter.

Calvin and Hobbes Creator Reveals His Method for Creativity

This illustration by Calvin and Hobbes cartoonist, Bill Watterson, reveals the top secret method for coming up with ideas for comic strips.  

Putting your butt in the chair and staring blankly into space until inspiration hits you.

Ok. Maybe it’s not that simple but it feels like it sometimes. The true key to consistent creativity is a daily routine you schedule into your life and stick to, no matter what.

Coming up with ideas for what to write or draw is still a challenge. When I’m sitting at my drafting table, mechanical pencil in hand, upset that inspiration isn’t striking yet, here’s what I like to do.

Pull it back. I will probably have one of my Fried Chicken and Sushi characters in mind that I want to create a comic strip about but no idea what to do with them. Even if I’m lucky and have a theme in mind, there’s one element that is of the utmost importance.

The feeling. The feels. Whatever you want to call them, your first question before even coming up with the joke should be-

What are you trying to get your readers to feel?

If you pull this into your creation process, you can move on to ‘the what’ and ‘the gag.’

After all, you know your work will have characters and something exciting or humorous happening, but will anyone feel anything? Will your readers care?

I’m still working on getting better at this myself. There’s so much more I need to learn so that I can improve as a writer and cartoonist.  Hopefully, to one day, get close to the genius of Bill Watterson’s Calvin and Hobbes.

But I believe that adding emotion to your work is key to quality.

Think about it. Plenty of content out there you can watch and read might be fun but can leave you feeling empty. After consuming any content, ask yourself-

Did you discover anything new about life or the world? Perhaps what you read mirrors your life in some way and helps validate your choices or represents who you are?  Maybe, it just made you feel good about being human.

If it made an impact, even in a small way, then it matters. Are you making people feel happy about their choices or sad? Are you looking to get them riled up about a topic and take action to make a change? Are you trying to take the blinders off and get them to think deeper about an issue in a new way?

A lot of questions, I know. But this is how I work through an idea to determine if it will resonate with an audience.

When I’m really having a hard time coming up with an idea for a funny gag, I take the feeling I want my readers to have about my comics and craft a plan around it. This question always haunts me-

Can I get people to care about my characters?

Here’s an example-

For the FC&S storyline where Tanuki, our magical raccoon character, wears a suit and sneaks into an office in Japan to see how it feels to work as a salaryman, I was looking to create a positive sense of fun with a touch of reality.

After several strips on this theme, I wanted readers to feel sorry for him in the final strip that ends the arc. That feeling led me to think about how that could happen in this situation.  

Tanuki can get a little cocky at times and even though we love him, reality should set in at some point. He’s a wild animal in an office. Why would people want that wild animal to leave?

Here’s the final comic strip-

Did you feel sorry for Tanuki? Maybe you think he deserves to be kicked out. Either way, you’re feeling and thinking about the characters in the comic.

Hopefully, your overall feeling for FC&S is still positive and you care about Tanuki. That’s my goal. Fried Chicken and Sushi should make you smile and leave you feeling good. Not just from the laughter, but from what the characters try, and often fail, to do in their lives.   

I’m not on the level of Bill Watterson as a cartoonist. I do believe that he understands the concept of making something people care about and feel. You get that from each and every one of his comic strips. Even if he had to stare blankly at a wall sometimes for ideas.

Before I go, there’s one more question you might have.

What if a reader hates my work that day and “feels” like it was terrible? Well then, they will make sure to read the next strip or article you post to see if you give them the feeling they want. Over time, the reader might decide to stop following your work.

Publishing your art for the world and making people think and feel on a regular basis is hard. You should be prepared for critics, haters, and if you’re lucky, hardcore fans.

Let people decide what they like.

You, my creative friend, make them feel.

(True Story) Why I Quit FC&S Comics, Then Came Back

It’s been one year since Little Fried Chicken and Sushi returned to regular updates after a year hiatus.  Here are some of my thoughts on why I stopped and started again, and ideas for how you can move forward with new creative projects when you lose passion for your work.

Letting go can lead you to what you need

I’ll never forget, feeling so burned out two years ago from work and life that even drawing comics didn’t make me smile.  In my mind at the time, ending Little Fried Chicken and Sushi comics was the only way to rest and heal.

And why keep it going? No new readers were discovering the strip.  I had a decent amount of support on Patreon -even though it didn’t feel like enough to me.  So, I ended Fried Chicken and Sushi completely. Finally! I would have time to rest and take things slower.

Not true. I started drawing for fun in my sketchbook more, and sharing those sketches on Instagram regularly, eventually feeling the drive to grow as an illustrator.  

But that didn’t make me happy.  Single images are fun, but I always yearn for more of a story -a sequence of events and the visual pacing only possible within panels.  

Even though making comic strips two to three times a week is difficult, I had to face the truth.  Making comics, made me happy. I needed it in my life.

So, I started brainstorming possible concepts and characters to develop a new comic.

I got close with a strip idea entitled “The Honeybuns.”  The strip was named after a rabbit family of four, and the humor primarily revolved around their life living in Silicon Valley.  My goal was to parody the stressful and ridiculously hectic lifestyle of bay area families, but instead of humans, using busy bunnies. Here are some of the sample strips from my submission packet.

What do you think?  Should I have stuck with this concept? Are you happy I moved on? This is a small sample of my submission.  If you would like to see more let me know in the comments.

Work on a project only you can create

No syndicates were interested.  Not even GoComics, the one that syndicates FC&S online.  I received some helpful feedback but ultimately had a choice to make.  Either keep working on improving “The Honeybuns,” a more mainstream strip idea or start Little Fried Chicken and Sushi up again.

Sometimes, you just have to face the hard truth.  Working on developing a new project would take a tremendous amount of time and energy I didn’t have

I knew the world and characters of Little FC&S best, so it would be easier to just start again.  That way, I could get better with something familiar and have an easier time creating new strip ideas.

The big question for me was -why restart a comic strip that wasn’t that popular in the first place?

One answer was pretty obvious. The election of Donald Trump as president. What felt like a rise in Americans sharing their outright racist opinions in public, online, and through committing hate crimes, helped to light my motivational fire to continue drawing a positive black family in comic strip form.

I noticed there were few humor strips with people of color, let alone with both African-Americans and Japanese main characters combined. Fried Chicken and Sushi could be the voice of a new comics generation.

Or, at least, one voice from the minority perspective. A voice with the opportunity to speak to a broader audience about living overseas and being open to other cultures through the GoComics platform, where only a handful of comics with people of color are syndicated.

The other factor is authenticity.  Only I could write and draw FC&S. Gag ideas come from my experiences as a black man who lived in and visits Japan. My unique worldview in writing would set it apart combined with my individual art style.

If it comes down to it, pick a project with a subject matter you know well or have a passion for and present it in a way that brings joy.     

Work on a new project while producing your current one

Perhaps, creating new project ideas feels easier while you are writing and drawing an already established project because you’re working out your “idea muscle” every day.  Taking a long break might just slow the process down and weaken your creativity.

There are benefits to keeping that creative fire burning!

Does this mean I have a new and better comic strip idea brewing in my head?  Honestly, no, not yet. It’s fun to work on improving my gag writing and character development skills through producing Fried Chicken and Sushi comics consistently every week.

I hope you’re enjoying reading them and I look forward to your feedback.  

Arigato Gozaimasu,

Khalid

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On Breaking Your Own Rules: Black Panther comic strips

When I first started drawing Little Fried Chicken and Sushi comic strips my main goal was to make them timeless by not adding any current events or obvious pop-culture references.

After watching the Black Panther movie, I changed that goal. Breaking my rules looked scary. I couldn’t stop thinking about if I draw strips based on a popular movie, it will date the strip when I eventually collect them into books.

I had to do it!

Black Panther was spectacular in so many ways film wise and as a part of not only black culture but American culture as a whole. There was no way I wasn’t going to make strips about the film!

Of course, it also made about a bajillion dollars at the box office. Not bad for a movie about powerful African characters. There was definitely an audience for this.

First, I thought about how I felt right after seeing it.

The feeling of creating the boy characters J, Ryan and Karl as T’Challa, Klaue and Killmonger in the above strip was enormously fulfilling. This was my first time creating strips that directly related to real movie characters. I couldn’t believe how much fun I was having!

It took some research and a great deal of drawing details, but I did my final of three Black Panther strips on the women. Mom as Queen Ramonda and little Kasha as Princess Shuri.

Tanuki’s magic ended up being a great way to experiment with cosplay on the main characters and try my hand at adding in current events.

My mind is more relaxed with the idea now and it’s already churning away thinking of possible gags to add in more pop-culture references in future strips.

Yes. This means the strip changes into something more timely rather than timeless, but I’m pretty sure it will be enjoyable to make and hopefully fun to read.

All the best,

Khalid