Baby cartoon’s creator: ‘We were born to be cartoonists’

By PAUL VARGASIn the early days of his career, artist and cartoonist Paul Varas was already well known for his works of surrealism, which he used to break away from the conventions of mainstream art.

But it was the 1970s that he truly broke out.

At the age of 16, Varas began working for the Philadelphia International Film Festival as a cameraman and assistant.

He later moved to New York to pursue his dreams as an artist and to pursue an artistic career.

Varas was born in Philadelphia, in 1952.

He began drawing cartoons at the age in his family, which included his grandmother.

“I always drew the characters,” he told Al Jazeera.

“My grandmother was a very imaginative and very talented person.

She had a great eye for a drawing.”

Growing up in Philadelphia’s poorest and most segregated neighborhoods, Varass found his calling in the film industry.

“When I was a kid, I always drew a lot of movies,” he said.

“I loved the fact that there was something more than the usual amount of money that you got in movies.”

Varas’ early work was influenced by his mother’s drawings, which were often inspired by her family history.

“My mother drew the pictures of my grandmother and of the other people who lived in the area,” he recalled.

“There was this little room that she would take my brother and his friend and we would sit there and play cards.”

She was really a good painter.

I think my mother drew a picture of the house where my grandfather lived and my grandmother drew a drawing of my father.

It was really just a really, really big picture of my mother and my father.

“The artist was raised to believe in the power of the imagination and the ability of people to create their own worlds, which was a major inspiration for his work.”

We can make a difference and make something out of nothing. “

It’s also a tool for creating change.

We can make a difference and make something out of nothing.

That’s how you can create a change in a society.”

Varass grew up in the Philadelphia’s African-American community, and was also the recipient of numerous awards, including a MacArthur Fellowship in 1965 and a National Book Award in 1976.

“The only thing I did in the US was draw, and I drew a whole lot of pictures.

I had a lot more art experience than most artists in the world,” he admitted.

In 1978, Varanas first became involved in drawing cartoon characters.

In 1979, he published a comic book called The Boy Who Couldn’t See (the title refers to the fact he couldn’t see what was going on behind him).

“It was one of those things that would get published a lot in the early 80s,” he recalls.

“That’s when I was doing my first drawing.

I drew this little boy who couldn’t really see what the world was doing.

It’s funny, I still don’t know what the hell happened to it.”

The series of comic books is a reflection of Varanas own experiences growing up in poverty, as well as his artistic background.

“It’s really a kind of family experience, to be honest,” he continued.

“To be honest, I was the kid who could not see what people were doing.

That really helped me become a better cartoonist.”

While the series of comics became a best-seller, it was not until 1988, in the form of his second book, The Book of Black Women, that Varanas truly came into his own as an adult artist.

“What I’m trying to say is that the more I learned, the more comfortable I got with drawing, because I had already learned a lot from my mother, and she had already taught me how to draw,” he noted.

“For me, I don’t think I ever learned anything new.

I learned everything from her.”

In The Book Of Black Women Varanas explored issues of race, racism and gender inequality in America, a period during which the country was gripped by the Rodney King riots.

Varanas’ depictions of the violence of racism and the suffering of African-Americans during the riots were a powerful reminder of the impact that the riots had on the Black community.

“There was a lot going on, but it was very powerful and very inspiring to see what it was like for people to feel so completely disenfranchised and not be able to really express themselves in any way,” he remarked.

“In The Boy, I really tried to show the racism, the injustice of the world and how much pain that the African-America community had.”

If you look at the cartoons, you could see that there’s a lot to the people who were suffering, and there was a great sense of injustice.

It really was a really powerful experience.

“The following year, he released the first in a series of two books, The Story of a Boy, and the first graphic novel in more than 20