Happy Friday!
WACreativeHearth
in this newsletter:
Real Life, Real Careers Reflection
Interview with Animator John “F” Fountain
BONK! Latest
Tapas
ComicFury
Instagram
Mother’s Day Gifts
Gift Wrap
Stationery
Candles
Tea Towels
Mugs
Upcoming Panel by Panel Workshop
A reminder about Art Classes
Happy Friday, Creative Hearth🌸
I hope you all had a happy Easter. I’m really excited to jump into this month’s WACreativeHearth update because of the incredibly special guest creator we have in our SECOND creator interview- the amazing John “F” Fountain of Nickelodeon renown and showrunner at his own indie production company, Fountain’s Pen Cartoons!
BUT FIRST…
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Real Life, Real Careers
If you follow along on my socials, you’ll remember that I mentioned being invited by my local college as a guest speaker at their Real Life, Real Careers event. These talks are designed to bring together professionals from diverse industries to share their personal journeys, college experiences, and career lessons with students. The goal is to help students feel more prepared, confident, and informed as they navigate school and life beyond graduation.
I was incredibly honored to have taken up this opportunity as a new artist in a new community. But, as a side note, it hit me HARD on the day of as a real-life moment of imposter syndrome. Even though I came prepared with my bio and career history, I couldn’t help but start trembling once in front of the group and on Zoom that I was supposed to be here as an inspiration to art students, and my story felt far from inspirational.
That being said, I feel like an impact WAS made, and I even walked away with a few realizations and thoughts of my own.
First off, I have been invited back to give the same talk next semester to a new group of students, and I couldn’t be more thrilled to be involved with my community and school in this way. I really look forward to continuing this work.
But, moreover, some of the questions offered me at the Q&A portion of the talk left a mark and I thought I’d discuss them here.
One question was, do I feel I’ve taken the harder route being an indie creator, as opposed to pursuing an agent, a publishing house, a studio, or EVEN an entirely different industry?
I’ve tried all of those ways, and I’ve struggled with each one differently.
Pursuing an agent or house is a competitive sport. On top of putting forth your best work at its highest quality, you have to study the current market, know your niche and audience, identify comparable titles and works, and be willing to make the manuscript changes requested of you; which are all good practices by themselves, BUT you open yourself to potential scams while taking only a cut of the pay. Ultimately, someone else owns your artwork or manuscript.
From what I can understand, unless you’ve gotten in by way of school or VERY intimate connections, studio animation is JUST as cutthroat. I’ve tried getting “a foot in the door” as early as college, ideally as a character designer or storyboard artist, but all paths ultimately led nowhere.
I’ve worked in other industries, particularly customer service, and- when I wasn’t replaced by AI- I was scammed, harassed, and underpaid.
As an indie creator, I bypass all those difficulties but make almost zero income while paying all expenses out of pocket on top of struggling with marketing and visibility.
So, is it harder?
I’d say it’s equally as hard, but with the freedom to retain creative ownership, keep all my own income, and make all of my own business choices.
Freedom.
Another question was do I regret the choice or would I go back to catering or customer service given the opportunity?
In all honesty, I have realistically thought about going back. A guaranteed income is alluring. But I’d be creating on the side anyway, while giving up on any illusion of that creativity actually going anywhere. By staying where I am with Whale & Aphid, I can pursue my real passion on my time while earning the income I choose. AND as I mentioned above, that is not without difficulty.
I absolutely don’t regret my choice. I stand by visual arts, creating for fun, opposing AI, and even living as an example of taking the road less traveled.
Has it been rewarding?
ABSOLUTELY
Again, I have freedom, ownership, and a drive to put my best work forward for myself and my audience.
Every choice and step I’ve taken with Whale & Aphid has been extremely rewarding in that sense. I’ve met authors, artists, students, school faculty, and fans. I’ve been able to share my work and discuss how to improve. I’ve been able to read new manuscripts and learn how to improve mine.
In the end, this experience reminded me why I chose this path in the first place: not because it’s easy, or guaranteed, or glamorous, but because it’s mine. Every challenge, every connection, every small win reinforces that I’m building something real and rooted in passion, ownership, and authenticity.
If sharing that journey helps even one student feel less alone or more empowered in their creative path, then every step has been worth it.
Now, on to the fun stuff!
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✒️Creator Interview✒️
John “F” Fountain
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I am THRILLED to introduce Mr. John “F” Fountain, whose work you may know from shows like My Life as A Teenage Robot, Invader Zim, Fairly Oddparents, and more!
We connected on X after I began following his Fountain’s Pen Cartoons studio, his own indie animation production hub.
Not only is he an inspiration to fledgling and indie animators and storytellers, he- like myself- is staunchly against AI and outspoken about protecting the tradition and spirit of hand-made art.
I could not be more honored that he has agreed to share his thoughts and processes here with us!
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I want to thank you again for taking the time to interview with me! As an illustrator, I also work with storyboards and character design with the end goal of telling a satisfying story.
I’d love to see how our workflow overlaps and how illustration as a skill can be applied in the creative animation process.
Creative Spark & Visual Storytelling
• When you begin a new animation, do you start with a character, a moment, or a visual mood?
It always begins with the story, not the animation. The animation is a means to an end. Before anything is drawn, I ask “What is the story?” and THEN I ask, “What message is the story ultimately trying to get across?”
Once those hurdles have been cleared, I ask myself “What is the best way to convey this visually?”
I can relate. That is exactly how I go about storyboarding for an author client. With my BONK! comics it’s a little different, though. Sometimes a character, creature, or setting will just pop into my mind and take over.
Storyboarding & Narrative Flow
• What’s your personal aim when approaching a new storyboard- clarity, comedy, rhythm, or something else?
I always try to find a subtext or deeper message… and if one doesn’t exist, I try to retcon it so that it does. I like stories with multiple layers. Those stories endure.
This is one thing I strive for when illustrating. Storytelling is nothing if not puzzle-solving.
• Can you describe a moment where the storyboard completely reshaped the direction of a scene? OR a moment the scene veered off from the storyboard entirely and made something better?
Famously, in an episode of My Life As A Teenage Robot called “Robot Riot” the episode outline (we didn’t use scripts) called for swarms of a million evil robots to descend from the sky and wreak havoc at a robot gladiator competition… I read it and said “Fuck this” and instead changed it to one giant robot.
My “inspiration” was to avoid having to draw swarms of robots, but it also wound up being a better overall decision because it had higher stakes and looked cooler.
In TV animation you can either have a million things animated like shit or one thing animated well. The choice was clear.
I actually laughed out loud when I read this. That is brilliant, and a decision well-executed. I think I know the episode. AND I wouldn’t have wanted to draw all those repeating tiny bits either, so much credit as deserved!
• What’s a storyboard panel you’re especially proud of, and why did it work so well? (from following you on X, I think I know some of these!)
I can’t think of storyboards in terms of individual panels… but the sequence I’m most proud of is the sphinx taming in FOP Abra-catastrophe.
It was a big cinematic and technical achievement for me for the sheer complexity of the action.
I remember the exact episode and scene. I remember being blown away by the sheer scale and detail of the sphinx and the use of (what I am guessing) is some sort of impressive 2/D/CGI overlay. Well done.
Character Design & Personality
• How do you approach designing a character so their personality is readable at a glance?
It’s all about their silhouette. You should be able to tell everything about a character just be seeing their shadow.
I learned about the silhouette in college when I was stoudying it for game design, and I use it now with my art students. It’s extremely crucial.
• Have you ever had a character “tell you” who they were as you drew them?
The best characters always do. If you’re working with a well written character, you become their stenographer.
I am creating a new character (for BONK!, no spoliers) now that is doing this pretty effortlessly.
• What’s one small design detail that most viewers won’t notice but means a lot to you?
Posture. A character’s posture speaks whole volumes about who they are.
Important to know.
Animation Craft & Visual Language
• How do you use visual motifs or recurring shapes to reinforce themes in your work?
Every scene’s opening shot composition should practically tell the entire story on its own.
• What’s a scene where the animation style itself became part of the storytelling?
Timmy fighting ninjas in the FOP episode of Action Packed. It was our way of telling the viewers “This is gonna be different!”
This has got to be one of my all-time favorite episodes. “Loose Cannon Cop on the Edge” still kills me and the Matrix-esque fight scenes were incredibly visually impressive.
• How do you decide when to exaggerate reality as opposed to keeping things more believable?
Whenever a character is coming unhinged I like to push boundaries like in the “Rick and Morty forever!” scene from ep1 or the “If I had one!” meme from FOP.
I think this is an important answer because my author clients tend to want more realistic scenes and characters, but I’m always trying to work in some comic or cartoon influence. I love the “character coming unhinged” moments.
Behind the Scenes
• What’s something about the animation industry that you wish more viewers understood?
That it’s work.
💯
• Do you have any rituals, warm‑up sketches, or “animation superstitions” before diving into a scene?
I try to “score” the scene with music playing that matches the mood of the scene.
That is a brilliant idea I’ve never tried!
• What’s the most challenging shot you’ve ever animated, and what made it so tricky?
See Sphinx answer.
Humor, Emotion & Audience Reaction
• Have you ever seen a fan interpret a scene or character in a way that surprised you?
I think Sheldon gets a bad rap for being “creepy”… of course his behavior is insane, but it’s cartoonishly exaggerated. He’s just an awkward, fumbling teen. He’s not a “stalker.”
I don’t want to call anyone out, but I’ve noticed some “BONK! furry” searches in my website analytics (get your heads out of the gutter!).
• What’s the most rewarding reaction you’ve gotten from viewers?
Any time they tell me that the cartoons made them laugh during difficult times.
That’s beautiful.
For Aspiring Animators
• What’s one skill you wish more new animators focused on early in their journey?
Film language. Literally, the language of the moving picture. It’s deep and nuanced and should be studied in depth by animators.
This surprisingly applies to illustration.
• What’s a misconception about animation or storyboarding you’d love to debunk?
That it’s fun. Ever.
It’s not fun. It’s sheer torment. The RESULTS are fun, but the creation itself is torture.
Oh stop. You enjoy it or you wouldn’t do it. Like my husband yelling at video games. That being said, I find myself hesitant to get on the tablet and draw, even if I know a strict deadline is approaching. So I can relate.
• How do you avoid burnout when working on long projects?
By not allowing myself to indulge in it.
Looking Forward
I know you are passionate about your current Fountains Pen Cartoons academy and production studio (I follow you on YouTube!). That being said:
• Are there any visual styles or animation techniques you are excited to explore next?
Many.
• Are there any dream collaborations you’d love to work with? (writers, directors, or other animators?)
I’d love to direct a Peter Gabriel video.
• If you could animate any myth, folktale, or historical moment, what would you choose and why?
The creation story in The Silmarillion. Because it’s Tolkien and it’s all metaphysical and metaphysical.
Brilliant. Can’t go wrong with Tolkien.
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Thank you so much for your insight, Mr. Fountain!
As I’ve said, you stand as an inspiration for indie creators and new artists everywhere. I look forward to seeing what Fountain’s Pen Cartoons goes on to create!
🐰Happy Easter from BONK!🐰
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Great... now it's a tradition
April showers bring May flowers... or something.
Find BONK! On:
Tapas
ComicFury
Instagram
💐Mother’s Day Is Coming...💐
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Mother’s Day is on its way! Who’s your favorite mom? It’s time to celebrate her with beautiful patterns like these from Whale & Aphid, featuring some of mom’s favorite things like coffee, nail polish, flowers, and love 💕
In my Zazzle shop, you’ll find one-of-a-kind Mother’s Day essentials, including gift wrap, stationery, mugs, candles and tea towels.
You’re sure to find something she’ll cherish!
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💐Gift Bags💐
💐Gift Wrap💐
💐Stationery💐
💐Candles💐
💐Tea Towels💐
💐Mugs💐
Upcoming…
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Panel by Panel
If you’re in the Kingman area from May 4th, you won’t want to miss this!
I am now partnered with Mohave Community College in a collaboration to bring my web comic workshop to students and the public.
Whether you’re enrolled as an art student or just want to drop by to learn something new, my doors are open to introduce you to the world of web comics!
We cover it all: from a brief history of web comics, character design, and narrative storytelling, to layout, lettering, and inking.
Course begins May 4th!
Sign up today, and come learn how web comics are made!
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That about wraps it up for me!
If you have any questions, feel free to shoot an email or jump into WACreativeHearth on Discord!
Cheers!
🌸Victoria
~PS~
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A Reminder About Art Classes…
Preply is now offering 70% off a trial lesson! This is a huge discount, so now is the time to sign up for a trial even if you’re on the fence about learning illustration, because you can try before you buy without having to invest full price!
During a trial lesson, we take a class session (1 hour) to get to know one another, discuss your portfolio goals, and work out a custom plan to get you to where you want to be at the end of the 20 lessons.
My easygoing course is beginner-friendly, but my custom approach can also hard-focus on specific areas with guided drawing exercises (figure drawing, proportion & composition, character design) for those a little more advanced.
Consider signing up today!
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I want to thank you again for following and subscribing. I hope to see you here again soon!
VictoriaMarbleArt
Congrats on the successful speaking event! And being invited back again! 🙌