List of Cartoonists Who Smoke Weed

• Underground comix movement was inseparable from cannabis culture – From the 1960s onward, artists like Gilbert Shelton and Larry Todd created explicitly pro-weed comics that normalized marijuana through humor and instruction
• Cannabis use spans generations of cartoonists – Pioneers like Robert Crumb helped establish cannabis as part of counterculture art, while modern creators like Box Brown advocate for legalization through journalism
• The relationship with cannabis is multifaceted – Some cartoonists created stoner comedy (Freak Brothers), others made instructional content (Dr. Atomic), and contemporary artists document policy through syndicated strips
• Contemporary cartoonists are increasingly open about advocacy – Unlike the underground era, today’s artists like Box Brown explicitly call for cannabis openness in the industry
• Cannabis has inspired diverse artistic expressions – From superhero comics (Ganjaman) to historical education (Cannabis: The Illegalization of Weed in America) to advocacy art (Vincent Gordon’s propaganda)
• Tragic timing highlights cultural significance – Larry Todd’s death at exactly 4:20 PM in 2024 symbolizes the deep connection between these artists and cannabis culture

For generations, cartoonists have used their art to explore, celebrate, and advocate for cannabis. While many creators have enjoyed cannabis privately, a select group has made it central to their work and identity. From the underground comix movement that emerged in the late 1960s to today’s syndicated comic strips, these artists haven’t just consumed cannabis—they’ve shaped how we understand and relate to it through their pen and ink. Whether you’re looking to explore the cultural history of cannabis through comics or find inspiration for your own creative journey, Herb’s strain guides can help you discover products that might enhance your artistic process.

Creator of the most iconic cannabis comic series in history, Gilbert Shelton’s The Fabulous Furry Freak Brothers first appeared in 1968, with the comic-book series published from 1971-1997, becoming a global phenomenon. His work defined the stoner comedy genre and helped normalize marijuana in counterculture.

• Cultural impact: The Fabulous Furry Freak Brothers first appeared in May 1968; comic-book series ran 1971-1997, translated into multiple languages
• Business success: Received $250,000 from Universal Studios in 1979 for film rights (never produced)
• Modern relevance: Animated series released on Tubi in 2021, showing lasting appeal
• Legacy: Comics Journal listed “The Idiots Abroad” as #44 of “100 Greatest Comics of the Century”
• Recognition: The Guardian called his artwork quality “astonishing” and noted the subject “hardly dated”

Shelton’s influence extends beyond comics—New Zealand band Fat Freddy’s Drop was named after his character. His work remains essential reading for anyone interested in cannabis culture’s artistic expression.

Larry Todd created Dr. Atomic, a mad scientist character devoted to cannabis experimentation, and co-founded Proto Pipe Company, manufacturers of the iconic cannabis pipe. According to reporting by The Comics Journal, he died at exactly 4:20 PM on September 28, 2024, a timing that seemed almost scripted by the cannabis gods themselves.

• Instructional focus: Created Dr. Atomic comic book series starting in 1972; ran through 1981 (six issues), plus special/related editions with practical cannabis advice
• Product design: Co-founded Proto Pipe Company, described as the “Swiss Army knife of pot pipes”
• Educational content: A special Dr. Atomic primer, Marijuana Multiplier, was described as offering detailed potency-boosting guidance, with warnings about hazardous methods
• Artistic legacy: Career retrospective opened on the same day he died (September 28, 2024)
• Market value: Cover art with Vaughn Bodē for Vampirella #3 sold for $132,000 at auction in 2024

As publisher Ron Turner noted in The Comics Journal, Todd was “a mad scientist cartoonist constantly testing the limits of art and science. He was an early proponent of marijuana freedom.”

A contemporary cartoonist openly advocating for legalization through syndicated journalism, Box Brown was arrested for cannabis at age 16, an experience that drove his lifetime advocacy. He’s a New York Times bestselling cartoonist who openly discusses cannabis use.

• Personal catalyst: Arrested at age 16 in 1996, leading to his advocacy—he called it “total bullshit”
• Publishing success: Cannabis: The Illegalization of Weed in America (2019) published by First Second Books
• Syndication milestone: Legalization Nation is a weekly cannabis/policy strip syndicated by King Features
• Creative process: Uses cannabis as part of his creative routine
• Industry insight: Brown argues for more honest conversation about cannabis in comics and culture

Brown’s work represents a shift from stoner comedy to serious journalism, interviewing cannabis regulators and documenting policy changes for mainstream audiences.

One of the most influential underground cartoonists, Robert Crumb’s work became synonymous with 1960s-70s counterculture cannabis use. His characters like Fritz the Cat and Mr. Natural appeared in cannabis-friendly publications and helped define the era’s artistic aesthetic.

• Cultural significance: Central figure in underground comix movement that emerged alongside cannabis legalization advocacy
• Character legacy: Crumb’s Mr. Natural was used in the unauthorized adult animated film Up in Flames (1978), tied to Freak Brothers material
• Historical context: Work regularly appeared in cannabis-friendly underground publications in the 1960s-70s
• Artistic influence: His distinctive style influenced generations of cartoonists working in counterculture spaces

Crumb’s association with cannabis culture, while less explicitly documented than others on this list, remains foundational to understanding the relationship between underground art and marijuana advocacy.

Paul Mavrides co-created later Fabulous Furry Freak Brothers adventures with Gilbert Shelton from 1978-1992 and was part of the Bay Area underground scene where cannabis culture thrived. His personal accounts provide insight into the community’s creative process.

• Collaborative work: Co-created Freak Brothers content for 14 years (1978-1992)
• Community documentation: Described meeting underground cartoonists while “consuming a pound of weed, a mountain of cigarettes and gallons of coffee”
• Cultural immersion: Part of the Bay Area underground scene defined by cannabis culture
• Historical perspective: Provides firsthand accounts of the cannabis-fueled creative environment
• Artistic contribution: Helped maintain the Freak Brothers legacy during its later years

Mavrides represents the collaborative nature of underground comix, where cannabis wasn’t just consumed but was integral to the creative community’s identity.

Dave Sheridan collaborated with Gilbert Shelton on Freak Brothers from 1974-1982 and created Dealer McDope, the iconic marijuana dealer character who became integral to the series’ universe. His work helped normalize cannabis transactions through humor.

• Character creation: Invented Dealer McDope, the Freak Brothers’ marijuana supplier
• Collaborative period: Worked on Freak Brothers for 8 years (1974-1982)
• Additional work: Collaborated on Mother’s Oats Comix for Rip Off Press
• Cultural contribution: Helped create the archetypal cannabis dealer character in comics
• Legacy: Integral to the Freak Brothers universe during its peak popularity years

Sheridan’s creation of Dealer McDope provided a crucial counterpoint to the Freak Brothers themselves, establishing the complete cannabis consumption cycle in comic form.

Based in the UK, Jim Stewart created Ganjaman, a “dope-toking stupor hero” who fights “for the rights of tokers.” According to Stewart, he has three cannabis convictions that inform his international perspective on cannabis comics and advocacy through superhero narratives.

• Character concept: Stewart describes Ganjaman as “Bugs Bunny on weed” fighting for tokers’ rights
• Educational mission: Stewart says he created comics to “educate the young ones that there are consequences to smoking the herb, jail time is bad for your health”
• Publishing independence: Self-publishes Ganjaman Presents, available in the US through Horn Dog
• Legal experience: According to Stewart, he has three cannabis convictions, informing his advocacy perspective
• Philosophical stance: “Cannabis has been demonized too long, it’s time that the world saw through the lies. Comics can be the best and most direct form of satire.”

Stewart bridges UK and US cannabis culture while demonstrating how comics can serve as both entertainment and political advocacy.

As a member of the San Francisco Air Pirates collective, Bobby London helped design the visual appearance of Dr. Atomic for Larry Todd. His contribution shows how collaborative the underground comix scene was in creating pro-cannabis characters.

• Character design: According to The Comics Journal, London created the visual design for Dr. Atomic: “I just sketched a drawing of what I thought someone named ‘Dr. Atomic’ would look like”
• Collective membership: Part of Air Pirates, renegade group creating unauthorized Disney parodies
• Community bonds: Noted that “Of all the people in that particular group, Larry Todd was the nicest to me”
• Collaborative process: Shows how underground cartoonists worked together to create iconic cannabis characters
• Historical context: Part of the San Francisco scene that defined underground comix and cannabis culture

London’s contribution demonstrates that even supporting roles in cannabis comics creation were significant to the movement’s success.

Spain Rodriguez, creator of the Trashman series, was a central figure in the Bay Area underground comix scene. His presence at early underground parties with Robert Crumb helped establish the movement’s social foundation.

• Scene participation: Attended early underground comix parties with Robert Crumb
• Community building: Part of the Bay Area underground scene central to counterculture social interaction
• Historical documentation: Mentioned by Larry Todd’s friend Pepper Alexandria as part of the underground party scene
• Cultural significance: Represents the social aspect of underground comix creation
• Era representation: Embodies the 1960s-70s counterculture integration of art and activism

Rodriguez’s inclusion highlights that cannabis culture in cartooning wasn’t just about explicit content but about the community that created it.

Chicago-based artist Vincent Gordon creates “mystical cartoons and eccentric style” with psychedelic characters. His work includes cannabis legalization propaganda and collaborations with Snoop Dogg and High Times.

• Artistic style: “Wacky and ghoulish” animated blotter art with colorful characters
• Advocacy work: Creates cannabis legalization propaganda that “lead him into some trouble”
• Industry connections: Worked with Snoop Dogg and High Times on collaborative projects
• Personal journey: According to his biography, “In 1995, cannabis found Vincent”
• Publication presence: Contributed art to High Times magazine

Gordon represents the modern evolution of cannabis cartooning, where artists work directly with cannabis brands and media to create advocacy content.

The relationship between cartooning and cannabis dates back to the late 1960s, when underground comix emerged as a countercultural force. Gilbert Shelton’s Fabulous Furry Freak Brothers (first appeared 1968) established the template for stoner comedy, while Larry Todd’s Dr. Atomic (1972) provided practical cannabis instruction. Throughout the 1970s-1980s, artists like Robert Crumb, Paul Mavrides, and Dave Sheridan expanded this universe through collaboration and character development. The underground scene fostered tight-knit communities where cannabis was central to both social interaction and creative process. In recent decades, the focus has shifted from pure comedy to advocacy and journalism, with contemporary artists like Box Brown documenting cannabis policy through syndicated strips. UK creators like Jim Stewart have expanded the genre internationally, while modern artists like Vincent Gordon work directly with cannabis brands on advocacy campaigns.

The evolution from stoner comedy to cannabis journalism reflects broader changes in legalization and public attitudes. Gilbert Shelton and Larry Todd created work that normalized cannabis through humor and instruction during prohibition eras. Today, Box Brown uses the same medium to document policy changes and advocate for reform through mainstream syndication. This shift mirrors the cannabis industry’s own evolution from underground market to legitimate business sector. For contemporary cartoonists seeking inspiration or products that might support their creative process, Herb’s editorial content provides educational resources on cannabis culture and consumption.

Multiple cartoonists have successfully built businesses at the intersection of art and cannabis. Larry Todd co-founded Proto Pipe Company, creating decades of artwork for the iconic cannabis pipe brand. Jim Stewart maintains independent publishing control over his Ganjaman series to preserve his advocacy message. Vincent Gordon collaborates with major cannabis brands like Snoop Dogg and High Times on propaganda campaigns. This entrepreneurial approach demonstrates how cartoonists have leveraged their cultural credibility to create legitimate cannabis-related enterprises that support both artistic expression and advocacy goals.