Cartoonist, Illustrator, Humorist.
Where to find:
Natefakes.org
Blog
Break of Day Comics
Social Media:
Facebook : Break of Day Comic
Twitter : @Cartoonyourpets
Online Stores:
Nate Fakes Official Store
Etsy Store: Nate Fakes
Natefakes.org
Blog
Break of Day Comics
Social Media:
Facebook : Break of Day Comic
Twitter : @Cartoonyourpets
Online Stores:
Nate Fakes Official Store
Etsy Store: Nate Fakes
When did you discover that your love of humor and drawing would develop into a career?
I always knew I wanted to be a cartoonist – even as a young boy. I really started to develop my craft and humor and pitching my material everywhere in my late 20’s. Unfortunately, the newspaper industry has been in decline about the same time that I became ‘professional.’ Growing up, I wanted to just be a syndicated cartoonist in the newspaper. These days that’s not really possible to become a new cartoonist in the paper and make a living strictly off that. However, other opportunities in the cartooning industry have opened up as technology grows and so I’ve capitalized on those as much as possible. I’ve always known though that somehow – someway – I’d make cartooning into a career despite all the frustrations and the road-less-traveled part that comes with it. I’ve never had a backup plan. Quite frankly, I don’t believe in those.
How does your sense of humor affect your comic style?
My style is something I’m proud of because I feel like I’m somewhat different than a lot of what is out there. I still use the old-school method of a dip pen and India ink. I do most of my coloring digitally though, and that’s a pretty common method (digital coloring) amongst most colleagues in my industry.
At any rate, I think my humor is original as well and a bit different. How so? Well, I try to really come up with off-the-wall material that hasn’t been done yet. I know every cartoonist tries to do that as well, so I really try harder. I have some good examples in my MAD Magazine features such as ‘My Wife the Turtle’, ‘Twisted Toaster Tales’ and my greeting cards. In my single panel feature, Break of Day, I really try to make the style and humor something fresh and new. A lot of the premises I go with are about new technology and things that are relevant. I always hope I’m doing something that hasn’t been done before, although, unbeknownst to me, it can happen. Every cartoonist will at one point do something that is similar to something else, unintentionally.
At any rate, I think my humor is original as well and a bit different. How so? Well, I try to really come up with off-the-wall material that hasn’t been done yet. I know every cartoonist tries to do that as well, so I really try harder. I have some good examples in my MAD Magazine features such as ‘My Wife the Turtle’, ‘Twisted Toaster Tales’ and my greeting cards. In my single panel feature, Break of Day, I really try to make the style and humor something fresh and new. A lot of the premises I go with are about new technology and things that are relevant. I always hope I’m doing something that hasn’t been done before, although, unbeknownst to me, it can happen. Every cartoonist will at one point do something that is similar to something else, unintentionally.
Is there a line to balance between taking work for hire and work for fun? How do you know when it's best not to accept a job?
I always try to work on material that is fun. However, sometimes I’ll take a project if the price is right. I usually get a good idea of what a client will be like after a couple of emails and/or phone communication and hearing about the project. I’ll typically go with my gut and pass on a project if I feel like it’s going to be a pain and not worth the time or money – or simply not fun. I compare my work as a cartoonist/illustrator as one of an actor. Sometimes I’ll take roles as an artist, even if I typically wouldn’t for various reasons. Just like sometimes an actor will play a certain role for credentials, money ... whatever it may be. At the end of the day, I have to pay the bills and even work I’m not particularly thrilled in I’ll do if I see it beneficial or a good opportunity. As an example, I’m currently the artist for a religious based strip written by a comedian, and I’m not a preachy person or anything. The material is about as opposite as what I write. However, the opportunities are endless with the project so I accepted the job and it’s paid off.
How has being featured on Facebook by George Takei helped your career?
Really, the main thing it has done is just gotten my name out there – which is always a good thing. I’ve had editors tell me, “Oh yes – I’ve seen your work all around social media. I know your work well.” It’s funny because instead of being an artist for MAD Magazine, Parade Magazine, greeting cards, etc., I’m known mostly for my presence on social media. Unfortunately, I don’t make any money off of “likes” and shares, but it does get my name out and makes me much more reputable for clients and future clients. It’s good to be known. I do wish George, and anyone that would share my work would provide a link to my website or Facebook page as well. It’s just the right thing to do whenever sharing anyone’s work. The main reason is I’ve found my work (and other peoples as well) cropped with copyright info cut out and everything else so it’s good to have that backup (a link) so people know where the cartoon came from and could attract more fans and clients.
What advice would you give an aspiring artist about pursuing their passions while making a living? What has served you best in creating your career?
It’s hard to talk to kids about becoming a cartoonist because the market has changed so much. As I’ve mentioned, I always wanted to just be syndicated and in newspapers. Well, that’s really not much of an option and in the near future it will probably be an obsolete choice. So, when a kid is older, I’m not sure what the major market is going to be. That being said though, I’ve learned to adapt and change to what’s happening in cartooning right now. It’s important for anyone pursuing a career in the arts to be realistic. Ask yourself some important questions like “What is out there?” “What will be around in the future?” And follow a path with opportunity and that you love. Also, any aspiring artist needs to have thick skin and truly except criticism and accept rejection. My work has been rejected many more times that accepted. It goes hand-and-hand with cartooning. You’ll have days that you want to give up – and a lot of people do. It’s not easy. It’s not as simple as drawing funny pictures – its work.
I tell aspiring cartoonist as well to take honest feedback – not just family and friends telling you “you’re good.” I learned to really do well when I had a syndicated cartoonist critique my work many years ago. He got back to me and told me how horrible it all was (my cartoons). He tore my work to shreds. Before that I thought I was good because I always heard I was good. But, it dawned on me that I was told that from friends, family; people close and not professionals. So, I was upset at first to hear such harsh criticism, but it ended up being the best thing I could have ever heard. I really became good and took a lot of his advice. I was able to really grow. It took years, but that’s what it takes. Really listen to people in the industry and don’t take things personally when they say something sucks.
I think cartooning has a great future in it though. There’s a big thing going on right now with the definition of “professionals” because anyone with a computer can put up a web comic and call themselves that ... so, a lot of change. But, it will all iron itself out. It’s hard for a cartoonist to make a living strictly off the internet and doing a single feature – but it is possible. I look at a lot of different avenues with my work and it all adds up. Maybe one day I can get back to my original goal as a kid – which was creating just a syndicated feature and that’s it. But, in the meantime, with the market the way it is, that’s not happening so I’m doing a lot – a big variety. However, I couldn’t be happier and I’m proud of what I do.
I tell aspiring cartoonist as well to take honest feedback – not just family and friends telling you “you’re good.” I learned to really do well when I had a syndicated cartoonist critique my work many years ago. He got back to me and told me how horrible it all was (my cartoons). He tore my work to shreds. Before that I thought I was good because I always heard I was good. But, it dawned on me that I was told that from friends, family; people close and not professionals. So, I was upset at first to hear such harsh criticism, but it ended up being the best thing I could have ever heard. I really became good and took a lot of his advice. I was able to really grow. It took years, but that’s what it takes. Really listen to people in the industry and don’t take things personally when they say something sucks.
I think cartooning has a great future in it though. There’s a big thing going on right now with the definition of “professionals” because anyone with a computer can put up a web comic and call themselves that ... so, a lot of change. But, it will all iron itself out. It’s hard for a cartoonist to make a living strictly off the internet and doing a single feature – but it is possible. I look at a lot of different avenues with my work and it all adds up. Maybe one day I can get back to my original goal as a kid – which was creating just a syndicated feature and that’s it. But, in the meantime, with the market the way it is, that’s not happening so I’m doing a lot – a big variety. However, I couldn’t be happier and I’m proud of what I do.
Nate Fakes is a professional, syndicated cartoonist and illustrator. He attended Wright State University in Dayton Ohio. During school, he was an intern at MAD Magazine in New York City and continues to write and draw for the publication today. Nate also draws for several major greeting card lines, is published daily in newspaper and online and is featured in many major magazines such as Parade, City Dog and more.
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