Bored Panda reached out to Beverly Kort to learn more about her creative process and personal journey. The artist shared that she had never been into crafts or hobbies. "My time outside work was filled with physical activities, socializing with friends and family, reading, traveling, and attending cultural events," she explained. So, becoming a cartoonist at 60? She never saw that coming!

However, about eight years ago, Kort realized she was missing a more relaxed, creative pastime. "I worried that if I became unable to maintain an active lifestyle later in life, I’d view any new sit-down hobby as a reminder of aging rather than something genuinely enjoyable. The prospect of suddenly having to find indoor interests in my later years felt daunting—I wanted to embrace something new while I was still active and energetic."

Kort decided to pursue something she had always assumed she couldn’t do—something she had little ego invested in: art. "My initial goal was modest: learn to sketch scenes while traveling. I imagined capturing memories of beautiful landscapes or interesting architecture in a sketchbook rather than just taking photos.

Surprisingly, I found myself drawn to figure drawing. I started working with a local artist who offered private and small group lessons. I experimented with various mediums—charcoal, pencil, ink—finding each had its own personality and challenges. The studio hosted other teachers, including an animator who taught figure drawing primarily to young animators—I was the only older woman in the class. I still remember the mix of intimidation and determination I felt walking into that first session, surrounded by young artists who seemed so naturally talented. Through these experiences, I began to understand that realism didn't need to be my only goal. We'd meet in coffee shops to sketch people, and I gradually became more comfortable with quick, expressive lines rather than perfect representations."

Kort found learning to draw comics challenging, especially keeping characters consistent from different angles. Frustrated by perspective mistakes, she often wanted to quit. But being a beginner later in life felt freeing—she had nothing to prove and everything to discover. She sought out comics courses and books, working through Lynda Barry’s materials before joining the Sequential Artists Workshop (SAW) when it moved online in 2020. Enrolling in their yearlong program, she embraced the uncertainty of learning alongside younger artists, finding that generational differences enriched their discussions, especially on aging and life transitions.

"With so much becoming available online, I've continued taking courses obsessively—both from individual cartoonists and institutions like New York's School for Visual Arts. I've carved out a daily practice, typically spending the morning hours with my coffee and sketchbook before moving on to more active pursuits. I've become part of a large cartoon-making community, mostly online, but have also connected with some women cartoonists in British Columbia. These connections have been vital—we critique each other's work, share submission opportunities, and celebrate each other's successes."

"My breakthrough came on a Facebook site that posted daily drawing prompts. After about a week of participating, I noticed everyone else was creating fine art while I was making cartoons. One particular prompt was 'Empty'—while others created haunting still lifes or abstract expressions of loneliness, I drew a refrigerator with a single condiment bottle and a caption about procrastinating grocery shopping. The comments were filled with laughs, and something clicked.

How had I not realized this about myself? I'd simply never imagined entering that world—despite being a lifelong comics enthusiast. I still have my childhood Superman collection, was obsessed with MAD Magazine, and embraced the underground comix of the 1960s. As I matured, I graduated to The New Yorker. Being a psychologist for decades, I find the blend of words and social commentary to make perfect sense. My clinical work taught me to observe human behavior and find the humor in our shared struggles and defense mechanisms—perfect training for a cartoonist, though I hadn't made the connection until now."

Kort's cartoons explore the funny side of aging, the quirks of modern life, and the ways people rationalize their actions—all shaped by her psychology background. "I aim for that moment of recognition when readers see themselves in my work and think, 'That's exactly how it is!'"

When asked about her creative process, Kort explained that she begins with ideas, not sketches. She listens to various podcasts, reads the news, and tries to capture the essence of current issues. "I have 3 cartoons that I have not published as yet about 'core memories' and how hard parents are trying to embed them in their children—sort of trying to curate their memories—except that it doesn't work that way. Many come from my experience of life—but I haven't really gotten into what my individual clients might be presenting. More external to myself and into the world.

I think of ideas and then I draw in my book to try to illustrate them—I need to use references as I am a newbie artist. Then when I have a good idea about characters and composition and the beginnings of my first kind of caption, I draw on my iPad—so all my cartoons are done in Procreate. I then have a group of 4 women cartoonists and we send each other our work and get feedback about whether it's funny, composition, etc. My group has very published cartoonists (and illustrated literary works)—2 have been in the New Yorker—so it is really fun to work together."

Kort finds satisfaction in sharing her cartoons on Instagram and has experienced unexpected success with her submissions. "My work has appeared in an edited collection of 12 cartoonists (Hold That Thought, edited by David Endelman), Funny Times, Asparagus Magazine, Hungry Zine, and I regularly contribute to the Vancouver Jewish Independent. I've also been published on online platforms like Little Old Lady Comedy and Frazzled. I still get a thrill each time an editor accepts my work—a validation I never anticipated needing at this stage of life."

"Starting this creative journey after 60 has completely changed my view of aging. Far from being a time of diminishing possibilities, I've found it to be incredibly liberating. There's a fearlessness that comes with no longer needing to build a career or impress others. I'm still intimidated by more complex storytelling and multi-panel narratives—that's my next mountain to climb.

I continue learning and improving, hoping my sense of humor and drawings connect with as many people as possible. Most importantly, I've discovered that new passions can find you at any age—sometimes hiding in plain sight among the interests you've had all along."

"I want people to get a glimpse of themselves in my cartoons or to rethink something in the news or pop culture. Sometimes a guffaw, sometimes a little chuckle, and sometimes a moment of 'that's me.' I have 3 children and 4 grandchildren and my kids range in age from 34-48, so I have many generations' views on life. I do poke fun at millennials and have done a few cartoons on my son, who is the youngest. I also have grandkids from 5-11 years old—so they are also a source."