A comic book creator might have been inspired to make their art from a cartoon about animals if they were introduced to graphic novels by the likes of Bill Watterson or Stan Lee, according to a new study.
The study was published in the American Journal of Psychology.
The authors used data from the Library of Congress’ National Endowment for the Humanities’ Graphic Novel Collection to show that the graphic novel was a critical factor in the development of cartoon artists over the past half century.
“One of the biggest questions we are trying to answer is: What was this cartoonist’s relationship to graphic books?” said senior author Daniel Kappelman, who conducted the study as part of the Department of Psychology’s Department of Psychological Science and the Center for the Study of Humanistic Psychology at the University of Maryland.
The authors found that the cartoonist had a close connection to graphic novel artists over time, and that a cartoonist who is exposed to graphic design can later become a cartoon artist themselves.
The comic book comic book cartoonist has a close relationship with cartoonists.
“When I was a kid, I read a lot of comics, and one of my favorite cartoonists was Bob Kane,” said Kappelmans study’s lead author, Daniel K. Kappleton.
The artist was the cartoonists first choice for illustrating the first graphic novel by Joe Kubert, published in 1963.
“I had a great relationship with Kane,” Kapples coauthor and psychology doctoral candidate Robert B. Caulfield told ABC News.
“I think there is something that draws people to him.
He was an early cartoonist.
He drew the earliest of cartoons for comics.
It was an easy thing for me to get into, and I still get that thrill of doing it.”
In addition to being a popular comic book artist, Kane drew a series of graphic novels for Marvel Comics between 1963 and 1968, including the acclaimed “The Golden Age of Comics” and “The Incredible Hulk.”
“When I first started in comics, I didn’t know anybody like him,” said one of Kane’s earliest cartoonists, Tom Griswold.
“He’s like a mentor figure, a kind of a guy that’s in the trenches and who’s trying to find his way.”
The graphic novel is the most important medium for cartoonists because it’s a medium that can bring out the imagination of the viewer, Kappalls study found.
“There’s a sense of a sort of voyeuristic pleasure in watching the cartoon,” said coauthor B. Todd Binder, who is also an assistant professor in the Department.
“The cartoonist gets a thrill from watching a cartoon,” K. Patti Caulfields mother, Nancy Caulfolds, told ABC.
“It’s a sort, sort of hypnotic thing, because they’re in the drawing room, they’re watching the drawings.
They’re not just watching the characters on screen.”
The study, published by the American Psychological Association, found that graphic novel creators, as a group, have an average age of 42.
They are also younger than the general population, and about a quarter are female.
However, female cartoonists are much more likely to be male than male cartoonists — the authors say that, when the authors controlled for race and education, they could explain this difference.
“You have a lot more female cartooners than male ones, and you also have more female comics readers, which I think is a big difference,” said study coauthor K. Todd C. Binder.
Kappelman said the researchers found that, as cartoonists became more successful, their relationship with the comic book industry changed.
“The comic books have always been the thing that drew me to comics, so I don’t know that you could change that, but I think there are things you can do,” he said.
Kapelman said he hoped that the study would lead to further research into the comic books relationship with graphic novels.
“What we really need to do is look at these relationships in a more comprehensive way,” he told ABCNews.
“Maybe you could look at what happened with other genres, like children’s books and film and television.”