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His contributions to Mad magazine, spanning decades of work as a writer, comics artist, and caricaturist, stand as the single most-cited body of work associated with Sergio Aragonés.

Aragonés was born on September 6, 1937, in Sant Mateu, Spain. He studied at the National Autonomous University of Mexico, a period that shaped his path toward the cartooning career he would go on to build. Working across writing, comics art, and caricature, he developed a practice that eventually brought him to Mad magazine, where his contributions became the work most closely tied to his name.

Over the course of his career, the industry recognized his output with a notable range of honors. He received a Reuben Award, an Eisner Award for Best Writer/Artist, a Harvey Award for Best Cartoonist, an Inkpot Award, a Bram Stoker Award for Best Illustrated Narrative, a Special Award for Humor, and recognition for Best Foreign Work Published in Spain. He was also inducted into the Will Eisner Hall of Fame, a distinction that places him among a select group of comics professionals singled out by that institution.

Aragonés holds Spanish citizenship and works in the Spanish language, though his reach as a contributor to Mad magazine extended well beyond any single national context. As of the time of writing he remains a living figure in the field, still identified by his long association with that publication. The Bram Stoker Award for Best Illustrated Narrative, one of the more unusual entries in his list of honors given its origin in the horror writing community, points to the range of formats his work has occupied. His inclusion in the Will Eisner Hall of Fame offers a concrete marker of how the comics industry has formally acknowledged his career as a writer and artist.

Quotes by Sergio Aragones

I don’t enjoy the boo scare when you’re watching a movie and then suddenly there’s a big shark on the screen. The only thing they’re doing is catching you off guard.
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I don’t enjoy the boo scare when you’re watching a movie and then suddenly there’s a big shark on the screen. The only thing they’re doing is catching you off guard.
If the gag is complicated, you spend more time thinking about the way you’re drawing it.
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If the gag is complicated, you spend more time thinking about the way you’re drawing it.
I’d love to do a whole series of stories and have them collected into books.
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I’d love to do a whole series of stories and have them collected into books.
At the end of the ’60s, I was trying to enter the world of comics.
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At the end of the ’60s, I was trying to enter the world of comics.
I live in a very small town and now that I’ve closed down my studio, I’m working at home.
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I live in a very small town and now that I’ve closed down my studio, I’m working at home.
I keep very weird hours. I never know when I’m going to get an idea.
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I keep very weird hours. I never know when I’m going to get an idea.
When you’re drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.
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When you’re drawing comics, you get very involved in how the story is going to develop and you spend more time daydreaming on that particular subject.
I have always loved horror very much. I used to write stories for DC’s House of Mystery. It was one of my first jobs writing for comics, and I loved it.
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I have always loved horror very much. I used to write stories for DC’s House of Mystery. It was one of my first jobs writing for comics, and I loved it.
Once you’ve established where you are, you go to the character and elaborate on expressions and action.
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Once you’ve established where you are, you go to the character and elaborate on expressions and action.
Suspense is very important. Even though this is humor and they’re short stories, that theory of building suspense is still there.
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Suspense is very important. Even though this is humor and they’re short stories, that theory of building suspense is still there.
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