the Rings and the classic fairy tales and mythologies that inspired those works. Smith says the earliest forerunner drawings of what later became Bone and his cousins occurred when he was about five, and sitting in his living room drawing, and he drew what looked like an old C-shaped telephone handset receiver, which emerged as a frowning character with its mouth wide open. Elements of that character and its demeanor found their way into the character Phoney Bone, the upset cousin to Bone. His name is derived from Fonebone, the generic surname that Don Martin gave to many of the characters that appeared in his Mad magazine strips. Smith began to create comics with the Bone characters as early as 1970, when he was about 9 years old. Smith graduated in 1978 from Worthington High School in Worthington, Ohio, a suburb of Columbus, where he was a classmate of Jim Kammerud. Later on, in 1986, Smith and Kammerud co-founded Character Builders, an animation studio in Columbus where Smith worked until 1992. After high school, Smith attended the Ohio State University, and while there he created a comic strip called Thorn for the student newspaper, The Lantern, which included some of the characters who later featured in the Bone series. He also studied animation. Career After graduating from college, Smith and his two friends, Jim Kammerud and Marty Fuller, started an animation studio called Character Builders Inc. Their first paid job was producing a 60-second animated opening for the TV series Super Safari with Jack Hanna. Other jobs followed for clients such as White Castle, sequences in films that the studio was given when other studios fell behind, and a claymation project that they were given following the rise in popularity of The California Raisins. Initial budgets were restrictive for the studio, which required the animators to be resourceful in order to meet their deadlines. Smith sometimes did the voice work as well as the animation on certain projects, and the animators sometimes had family members come in on some evenings to paint animation cells. Though Smith found the projects exciting, he realized that it was not the type of cartooning he wanted to do, which was complicated by periods in which the studio had no work. It was during one of these slow periods that Smith reconsidered his career. Drawn to the idea that he could produce his own animated-type